THE NIGHTMARE
LARS KEPLER
Translated from the Swedish by Neil Smith

This is entirely a work of fiction. Any references to real people, living or dead, real events, businesses, organizations and localities are intended only to give the fiction a sense of reality and authenticity. All names, characters and incidents are either the product of the author’s imagination or are used fictitiously, and their resemblance, if any, to real-life counterparts is entirely coincidental.

HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollinsPublishers 2012

1

Copyright © Lars Kepler 2010

Translation copyright © Neil Smith 2018

All rights reserved

Originally published in 2010 by Albert Bonniers Förlag, Sweden, as Paganinikontraktet

Lars Kepler asserts the moral right to be identified as the author of this work

Cover design by Claire Ward © HarperCollinsPublishers Ltd 2018

Cover photography © Jill Battaglia/Trevillion Images

Grateful acknowledgement is made for permission to reprint excerpts from the following previously published material: ‘Starman,’ ‘Life on Mars,’ and ‘Ziggy Stardust,’ written by David Bowie, reprinted by permission of Hal Leonard Corporation and Tintoretto Music admin. By RZO Music, Inc.; Pablo Neruda, ‘Soneto XLV,’ Cien sonetos de amor, © Fundación Pablo Neruda, 2012

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication

Ebook Edition © APRIL 2018 ISBN: 9780007488087

SOURCE ISBN: 9780008241827

Version: 2019-03-04

International Praise for Lars Kepler:

‘A terrifying and original read’ Sun

‘A rollercoaster ride of a thriller full of striking twists’ Mail on Sunday

‘Sensational’ Lee Child

‘An international book written for an international audience’ Huffington Post

‘Ferocious, visceral storytelling that wraps you in a cloak of darkness. It’s stunning’ Daily Mail

‘One of the best – if not the best – Scandinavian crime thrillers I’ve read’ Sam Baker, Red

‘A creepy and compulsive crime thriller’ Mo Hayder

‘Intelligent, original and chilling’ Simon Beckett

‘Mesmerizing … a bad dream that takes hold and won’t let go’ Wall Street Journal

‘One of the most hair-raising crime novels published this year’ Sunday Times

‘Grips you round the throat until the final twist’ Woman & Home

‘A serious, disturbing, highly readable novel that is finally a meditation on evil’ Washington Post

‘A genuine chiller … deeply scarifying stuff’ Independent

‘Far above your average thriller … you’ll be terrified’ Evening Standard

‘A pulse-pounding debut that is already a native smash’ Financial Times

‘The cracking pace and absorbing story mean it cannot be missed’ Courier Mail

‘Utterly outstanding’ Morgenavisen Jyllands-Posten, Denmark

‘Disturbing, dark and twisted’ Easy Living

‘Creepy and addictive’ She

‘Brilliant, well written and very satisfying. A superb thriller’ De Telegraaf, Netherlands

Table of Contents

Cover

Title Page

Copyright

International Praise for Lars Kepler:

Preface

Chapter 1: A premonition

Chapter 2: The pursuer

Chapter 3: A boat is left adrift in Jungfrufjärden

Chapter 4: The floating man

Chapter 5: National Homicide Commission

Chapter 6: How death came

Chapter 7: Helpful people

Chapter 8: Nils Åhlén

Chapter 9: About close combat

Chapter 10: Drowned

Chapter 11: In the front cabin

Chapter 12: Unusual death

Chapter 13: Reconstruction

Chapter 14: A late-night party

Chapter 15: Identification

Chapter 16: The mistake

Chapter 17: A very dangerous man

Chapter 18: The fire

Chapter 19: An undulating landscape of ash

Chapter 20: The house

Chapter 21: The Security Police

Chapter 22: Incomprehensible

Chapter 23: Forensics

Chapter 24: The object

Chapter 25: The child on the stairs

Chapter 26: The palm of a hand

Chapter 27: Extremists

Chapter 28: The Brigade

Chapter 29: The SWAT team

Chapter 30: Pain

Chapter 31: The message

Chapter 32: Proper police work

Chapter 33: The search

Chapter 34: Dreambow

Chapter 35: Erased material

Chapter 36: The connection

Chapter 37: Collaboration

Chapter 38: Saga Bauer

Chapter 39: Further away

Chapter 40: The successor

Chapter 41: No sleep

Chapter 42: The Inspectorate for Strategic Products

Chapter 43: A cloned computer

Chapter 44: The emails

Chapter 45: The motorway

Chapter 46: The photograph

Chapter 47: The fourth person

Chapter 48: The bridal crown

Chapter 49: The indistinct face

Chapter 50: The hiding place

Chapter 51: Winner takes all

Chapter 52: The courier

Chapter 53: The signature

Chapter 54: The competition

Chapter 55: The police

Chapter 56: The helicopter

Chapter 57: The police

Chapter 58: The beneficiary

Chapter 59: When life gets new meaning

Chapter 60: A little more time

Chapter 61: What he always thinks

Chapter 62: Sweet sleep

Chapter 63: The Johan Fredrik Berwald Contest

Chapter 64: The lift down

Chapter 65: What these eyes have seen

Chapter 66: Without Penelope

Chapter 67: Where the money goes

Chapter 68: Something to celebrate

Chapter 69: The string quartet

Chapter 70: A feeling

Chapter 71: Seven million choices

Chapter 72: The riddle

Chapter 73: One last question

Chapter 74: A perfect plan

Chapter 75: Bait

Chapter 76: The secure apartment

Chapter 77: The operation

Chapter 78: The market-hall

Chapter 79: When it happens

Chapter 80: The pressure wave

Chapter 81: The German Embassy

Chapter 82: The face

Chapter 83: The perpetrator

Chapter 84: The fire

Chapter 85: Hunt of the hunted

Chapter 86: The white trunk of the birch

Chapter 87: The dead end

Chapter 88: The visitor

Chapter 89: The meeting

Chapter 90: The photographer

Chapter 91: A final way out

Chapter 92: Exposed

Chapter 93: Greta’s death

Chapter 94: White, rustling plastic

Chapter 95: Missing

Chapter 96: Raphael Guidi

Chapter 97: Escape

Chapter 98: The prosecutor

Chapter 99: Missing

Chapter 100: Pontus Salman

Chapter 101: The girl with dandelions

Chapter 102: The other side of the picture

Chapter 103: Closer

Chapter 104: The nightmare

Chapter 105: The witness

Chapter 106: The father

Chapter 107: The empty room

Chapter 108: Loyalty

Chapter 109: The contract

Chapter 110: On board

Chapter 111: Traitor

Chapter 112: Automatic fire

Chapter 113: The knife-blade

Chapter 114: The final struggle

Chapter 115: Conclusion

Axel Riessen

Beverly Andersson

Penelope Fernandez

Saga Bauer and Anja Larsson

Disa Helenius

Joona Linna

Epilogue

Read on for an exclusive extract from the next Joona Linna thriller, The Fire Witness:

KEEP READING…

About the Author

Also by Lars Kepler

About the Publisher

Preface

There’s no wind when the large leisure cruiser is found drifting in Jungfrufjärden in the southern part of the Stockholm archipelago one light evening. The water is a sleepy bluish-grey colour, and is moving as gently as fog.

The old man in a rowing boat calls out a couple of times even though he has a feeling he’s not going to get any answer. He’s been watching the boat from shore for almost an hour as it’s been drifting slowly backwards on the offshore current.

The man angles his rowing boat so that the side butts up against the motor cruiser. He pulls the oars in, ties the rowing boat to the swimming platform, climbs up the metal steps and over the railing. In the middle of the aft-deck is a pink sun-lounger. When he can’t hear anything he opens the glass door and goes down a few steps into the saloon. The large windows are casting a grey light across the polished teak interior and dark-blue upholstery of the sofa. He carries on down the steep wooden steps, past the dark galley and bathroom and into the large cabin. Pale light is filtering through the narrow windows up by the ceiling, illuminating the arrow-shaped double bed. Towards the top of the bed a young woman in a denim jacket is sitting against the wall in a limp, slumped posture with her legs wide apart and one hand resting on a pink cushion. She’s looking the old man straight in the eye with a bemused, anxious smile on her face.

It takes a moment for the man to realise that the woman is dead.

In her long, dark hair there’s a clasp in the shape of a dove, a peace dove.

When the old man goes over and touches her cheek, her head topples forward and a thin stream of water trickles out of her mouth and down her chin.

The word ‘music’ actually refers to the artistry of the muses, and comes from the Greek myth of the nine muses. All nine were the daughters of the great god Zeus and the titan Mnemosyne, goddess of memory. The muse of music itself, Euterpe, is usually depicted with a double-flute between her lips, and her name means ‘bringer of joy’.

The talent known as musicality has no generally accepted definition. There are people who lack the ability to discern shifting frequencies of notes, and there are people who are born with an extensive musical memory and the sort of perfectly attuned hearing that enables them to identify any given note without any points of reference whatsoever.

Through the ages a number of exceptionally talented musical geniuses have emerged, some of whom have become extremely famous, such as Wolfgang Amadeus Mozart, who toured the courts of Europe from the age of six, and Ludwig van Beethoven, who composed many of his greatest works after he had become totally deaf.

The legendary Nicolò Paganini was born in 1782 in the Italian city of Genoa. He was a self-taught violinist and composer. To this day there have been very few violinists capable of playing Paganini’s fast, complicated compositions. Up to his death Paganini was pursued by rumours that he had only acquired his unique talent by signing a contract with the devil.

1
A premonition

A shiver runs down Penelope Fernandez’s spine. Her heart suddenly starts to beat faster and she glances quickly over her shoulder. Perhaps at that moment she has a premonition of what is going to happen to her later that same day.

In spite of the heat in the studio Penelope’s face feels cool. It’s a lingering after-effect from the make-up room, where the cool cream-powder sponge was pressed to her skin, the clasp with the dove removed from her hair as the mousse was rubbed in to gather her hair into twining locks.

Penelope Fernandez is chairperson of the Swedish Peace and Arbitration Society. She is now being ushered silently into the news studio, and sits down in the spotlight opposite Pontus Salman, who is the managing director of Silencia Defence Ltd, an arms manufacturer.

The news anchor, Stefanie von Sydow, moves on to a new item, looks into the camera and starts to talk about the redundancies that have followed the purchase of the Swedish company Bofors by British defence manufacturer BAE Systems Ltd, then she turns to Penelope:

‘Penelope Fernandez, in a number of debates now you have been highly critical of Swedish arms exports. Recently you drew a comparison with the Angolagate scandal in France, in which senior politicians and businessmen were accused of bribery and weapons smuggling, and have now been given long prison sentences. We haven’t seen anything like that in Sweden, though, surely?’

‘There are two ways of looking at that,’ Penelope Fernandez replies. ‘Either our politicians work differently, or our judicial system does.’

‘As you’re well aware,’ Pontus Salman says, ‘we have a long tradition of …’

‘According to Swedish law,’ Penelope interrupts. ‘According to Swedish law, all manufacture and export of military equipment is illegal.’

‘You’re wrong, of course,’ Salman says.

‘Paragraphs 3 and 6 in the Military Equipment Act, 1992,’ Penelope specifies.

‘But Silencia Defence has been given positive advance notification,’ he smiles.

‘Yes, because otherwise we’d be talking about large-scale weapons offences, and …’

‘Like I said, we have a permit,’ he interrupts.

‘Don’t forget what military equipment is …’

‘Hold on a moment, Penelope,’ news anchor Stefanie von Sydow says, nodding to Pontus Salman who has raised a hand to indicate that he hasn’t finished.

‘Naturally, every deal is examined beforehand,’ he explains. ‘Either directly by the government, or by the Inspectorate for Strategic Products, if you’re aware of them?’

‘France has an equivalent body,’ Penelope replies. ‘Even so, military equipment worth eight billion kronor was able to reach Angola in spite of the UN arms embargo, and in spite of an absolutely binding ban on …’

‘We’re talking about Sweden now.’

‘I understand that people don’t want to lose their jobs, but I’d still be interested to hear how you can justify the export of huge quantities of ammunition to Kenya? A country which …’

‘You haven’t got anything,’ he interrupts. ‘Nothing, not a single instance of wrongdoing, have you?’

‘Unfortunately I’m not in a position to …’

‘Do you have any concrete evidence?’ Stefanie von Sydow interrupts.

‘No,’ Penelope Fernandez replies, and lowers her gaze. ‘But I …’

‘In which case I think an apology is in order,’ Pontus Salman says.

Penelope looks him in the eye, feels anger and frustration bubbling up inside her, but forces herself to stay quiet. Pontus Salman gives her a disappointed smile and then goes on to talk about their factory in Trollhättan. Two hundred jobs were created when Silencia Defence was given permission to start manufacture. He explains what positive advance notification means, and how far they have got with production. He slowly expands on his point to the extent that there’s no time left for his co-interviewee.

Penelope listens and tries to suppress the pride in her heart. Instead she thinks about the fact that she and Björn will soon be setting off on his boat. They’ll make up the arrow-shaped bed in the fore, fill the fridge and little freezer. In her mind’s eye she can see the sparkle of the frosted vodka glasses when they’re eating pickled herring, potatoes, boiled eggs and crispbread. They’ll lay the table on the aft-deck, drop anchor by a small island in the archipelago and sit and eat for hours in the evening sun.

Penelope Fernandez leaves Swedish Television’s studios and starts to walk towards Valhallavägen. She spent almost two hours waiting for a follow-up interview on a different programme before the producer said they were going to have to drop her to make room for five easy tips for a flat stomach this summer.

Over on the grassy expanse of Gärdet she can see the colourful tents of the Circus Maximum. One of the keepers is washing two elephants with a hose. One of them reaches into the air with its trunk to catch the hard jet of water in its mouth.

Penelope is only twenty-four, and she has dark, curly hair that reaches just past her shoulders. She has a short silver chain around her neck with a small crucifix from when she was confirmed. Her skin is a silky golden colour, like virgin olive oil or honey, as one boy wrote when they had to describe each other in a high-school exercise. Her eyes are large and serious. More than once she has been told that she bears a striking resemblance to film star Sophia Loren.

Penelope takes out her phone and calls Björn to say she’s on her way, and is about to catch the underground from Karlaplan.

‘Penny? Has something happened?’ he asks, sounding stressed.

‘No – why?’

‘Everything’s ready, I left you a message. You’re the only thing missing.’

‘There’s no desperate rush, is there?’

As Penelope is standing on the long, steep escalator down to the underground platform her heart starts to beat faster with vague unease, and she closes her eyes. The escalator grows steeper and narrower, the air cooler and cooler.

Penelope Fernandez comes from La Libertad, which is one of the largest regions of El Salvador. Penelope’s mother Claudia Fernandez was imprisoned during the civil war and Penelope was born in a cell where fifteen other interned women did their best to help. Claudia was a doctor, and had been active in the campaign to educate the population. The reason she ended up in one of the regime’s notorious prisons was because she continued to campaign for the right of the indigenous people to form trades unions.

Penelope only opens her eyes when she reaches the bottom of the escalator. The feeling of being shut in vanishes. She thinks once more about Björn, waiting at the marina on Långholmen. She loves swimming naked from his boat, diving into the water and not being able to see anything but sea and sky.

The underground train shakes as it rushes through the tunnel, then sunlight streams through the windows when it reaches Gamla stan station.

Penelope Fernandez hates war and violence and military might. It’s a burning conviction which led her to study for a master’s degree at Uppsala University in Peace and Conflict Studies. She has worked for the French aid organisation Action Contre la Faim in Darfur alongside Jane Oduya. She wrote an acclaimed article for Dagens Nyheter about the women in the refugee camps and their attempts to recreate a semblance of normal life after every assault on them. Two years ago she succeeded Frida Blom as chair of the Swedish Peace and Arbitration Society.

Penelope gets off at Hornstull station and emerges into the sunshine. She suddenly feels inexplicably anxious, so runs down Pålsundsbacken to Söder Mälarstrand, hurries across the bridge to Långholmen and follows the road round to the left, towards the small boats harbour. Dust from the grit on the road hangs like a haze in the still air.

Björn’s boat is moored in the shadow of the Western Bridge, the movements of the water forming a mesh of light reflected onto the grey steel beams high above.

She sees him at the back of the boat, wearing a cowboy hat. He’s standing still, with his arms wrapped round him, his shoulders hunched.

Penelope puts two fingers in her mouth and wolf-whistles. Björn starts, and his face becomes completely unmasked, as if he were horribly afraid. He looks over towards the road and catches sight of her. He still has a worried look in his eyes as he walks to the gangplank.

‘What is it?’ she asks, walking down the steps to the jetty.

‘Nothing,’ Björn replies, then adjusts his hat and tries to smile.

They hug and she feels that his hands are ice-cold, and his shirt soaking wet on his back.

‘You’re really sweaty,’ she says.

Björn looks away evasively.

‘I’m just keen to get going.’

‘Did you bring my bag?’

He nods and gestures towards the cabin. The boat is rocking gently beneath her feet, and she can smell sun-warmed plastic and polished wood.

‘Hello?’ she says breezily. ‘Where are you right now?’

His straw-coloured hair is sticking out in all directions in small, matted dreads. His bright blue eyes are childlike, smiling.

‘I’m here,’ he replies, and lowers his eyes.

‘What’s on your mind?’

‘I just want us to be together,’ he says, and puts his arms round her waist. ‘And have sex out in the open air.’

He nuzzles her hair with his lips.

‘Is that what you’re hoping?’ she whispers.

‘Yes,’ he replies.

She laughs at him for being so upfront.

‘Most people … well, most women, anyway, probably find that a bit overrated,’ she says. ‘Lying on the ground among loads of ants and stones and …’

‘It’s like swimming naked,’ he maintains.

‘You’re just going to have to try to persuade me,’ she says flirtatiously.

‘I’ll do my best.’

‘How?’ she laughs, as her phone starts to ring in her canvas bag.

Björn’s smile seems to stiffen at the sound of the ringtone. The colour drains from his cheeks. She looks at the screen and sees that it’s her younger sister.

‘It’s Viola,’ she says quickly to Björn before she answers.

‘Hola, little sister.’

A car blows its horn and her sister shouts something away from the phone.

‘Bloody lunatic,’ she mutters.

‘What’s going on?’

‘It’s over,’ her sister says. ‘I’ve dumped Sergey.’

‘Again,’ Penelope adds.

‘Yes,’ Viola says quietly.

‘Sorry,’ Penelope says. ‘You must be upset.’

‘It’s not that bad, but … Mum said you were going out on the boat, and I was wondering … I’d love to come along, if that would be okay?’

Neither of them speaks for a moment.

‘Sure, come along,’ Penelope repeats, and hears the lack of enthusiasm in her own voice. ‘Björn and I need a bit of time together, but …’

2
The pursuer

Penelope is standing at the helm with a light blue sarong wrapped round her hips and a white bikini top with a peace sign over the right breast. She is bathed in summer light coming through the windscreen. She carefully steers round Kungshamn lighthouse, then manoeuvres the large motor cruiser into the narrow strait.

Her sister Viola gets up from the pink sun-lounger on the aft-deck. She’s spent the past hour lying there wearing Björn’s cowboy hat and an enormous pair of mirror sunglasses, sleepily smoking a joint.

Viola makes five half-hearted attempts to pick up the box of matches with her toes before giving up. Penelope can’t help smiling. Viola walks into the saloon through the glass door and asks if Penelope would like her to take over.

‘If not, I’ll go and make a margarita,’ she says, and carries on down the steps.

Björn is lying out on the foredeck on a towel, using his paperback of Ovid’s Metamorphoses as a pillow.

Penelope notices that the base of the railing by his feet has started to rust. Björn was given the boat by his father when he turned twenty, but he hasn’t been able to afford to maintain it properly. The big motor cruiser is the only gift he ever got from his father, apart from a holiday. When his dad turned fifty he invited Björn and Penelope to one of his finest luxury hotels, the Kamaya Resort on the east coast of Kenya. Penelope only managed to put up with the hotel for two days before travelling to the refugee camp in Kubbum in Darfur in western Sudan, where the French aid organisation Action Contre la Faim was based.

Penelope decreases their cruising speed from eight to five knots as they approach the Skurusund Bridge. The heavy traffic high above on the bridge can’t be heard at all on the water. Just as they’re gliding into the shadow of the bridge she spots a black inflatable boat by one of the concrete foundations. It’s the same sort used by the Special Boat Service: a RIB with a fibreglass hull and extremely powerful motors.

Penelope has almost passed the bridge when she realises that there’s someone sitting in the boat. A man crouching in the gloom with his back to her. She doesn’t know why her pulse quickens at the sight of him. There’s something about the back of his head and his dark clothes. She feels as if she’s being watched, even though he’s facing the other way.

When she emerges into the sunshine again she shivers, and the goosebumps on her arms take a long time to go down.

She increases their speed to fifteen knots once she’s past Duvnäs. The two on-board motors rumble, the water foams behind them and the boat takes off across the smooth sea.

Penelope’s phone rings. She sees her mother’s name on the screen. Perhaps she saw the discussion on television. Penelope wonders for a moment if her mum is calling to tell her she did well, but knows that’s just a fantasy.

‘Hi, Mum,’ Penelope says when she answers.

‘Ow,’ her mother whispers.

‘What’s happened?’

‘My back … I need to get to the chiropractor,’ Claudia says. It sounds like she’s filling a glass from the tap. ‘I just wanted to find out if Viola’s spoken to you?’

‘She’s here on the boat with us,’ Penelope replies as she listens to her mother drink.

‘Oh, good … I thought it would do her good.’

‘I’m sure it will do her good,’ Penelope says quietly.

‘What food have you got?’

‘Tonight we’re having pickled herring, potatoes, eggs …’

‘She doesn’t like herring.’

‘Mum, Viola called me just as …’

‘I know you weren’t expecting her to come with you,’ Claudia interrupts. ‘That’s why I’m calling.’

‘I’ve made some meatballs,’ Penelope says patiently.

‘Enough for everyone?’ her mother asks.

‘Everyone? That depends on …’

She tails off and stares out across the sparkling water.

‘I don’t have to have any,’ Penelope says in a measured tone.

‘If there aren’t enough,’ her mother says. ‘That’s all I meant.’

‘I get it,’ she says quietly.

‘So it’s poor you now, is it?’ her mother asks with barely concealed irritation.

‘It’s just that … Viola is actually an adult, and …’

‘I’m disappointed in you.’

‘Sorry.’

‘You always manage to eat my meatballs at Christmas and Midsummer and …’

‘I can go without,’ Penelope says quickly.

‘Fine,’ her mother says abruptly. ‘That’s that sorted.’

‘I just mean …’

‘Don’t bother coming for Midsummer,’ her mother interrupts crossly.

‘Oh, Mum, why do you always have to …’

There’s a click as her mother hangs up. Penelope stops talking and feels frustration bubbling inside her as she stares at the phone, then tosses it aside.

The boat passes slowly across the green reflection of the verdant slopes. The steps from the galley creak and Viola wobbles into view with a martini glass in her hand.

‘Was that Mum?’

‘Yes.’

‘Is she worried I’m not going to get anything to eat?’ Viola asks with a smile.

‘There’s food,’ Penelope replies.

‘Mum doesn’t think I can take care of myself.’

‘She’s just worried,’ Penelope replies.

‘She never worries about you,’ Viola says.

‘I’m fine.’

Viola sips her cocktail and looks out through the windscreen.

‘I saw the debate on television,’ she says.

‘This morning? With Pontus Salman?’

‘No, this was … last week,’ she says. ‘You were talking to an arrogant man who … he had a fancy name, and …’

‘Palmcrona,’ Penelope says.

‘That was it, Palmcrona …’

‘I got angry, my cheeks turned red and I could feel tears in my eyes, I felt like reciting Bob Dylan’s “Masters of War” or just running out and slamming the door behind me.’

Viola watches as Penelope stretches up and opens the roof hatch.

‘I didn’t think you shaved your armpits,’ she says breezily.

‘No, but I’ve been in the media so much that …’

‘Vanity got the better of you,’ Viola jokes.

‘I didn’t want to get written off as a troublemaker just because I had a bit of hair under my arms.’

‘How’s your bikini line going, then?’

‘Well …’

Penelope lifts her sarong and Viola bursts out laughing.

‘Björn likes it,’ Penelope smiles.

‘He can hardly talk, with his dreadlocks.’

‘But you shave everywhere, just like you’re supposed to,’ Penelope says with a note of sharpness in her voice. ‘For your married men and muscle-bound idiots and …’

‘I know I have bad taste in men,’ Viola interrupts.

‘You don’t have bad taste in anything else.’

‘I’ve never really done anything properly, though.’

‘You just have to improve your grades a bit, then …’

Viola shrugs her shoulders:

‘I did actually sit the high-school paper.’

They’re ploughing gently through the transparent water, followed high above by some gulls.

‘How did it go?’ Penelope eventually asks.

‘I thought it was easy,’ Viola says, licking salt from the rim of the glass.

‘So it went well, then?’ Penelope smiles.

Viola nods and puts her glass down.

‘How well?’ Penelope asks, nudging her in the side.

‘Top marks,’ Viola says, looking down.

Penelope lets out a shriek of joy and hugs her sister hard.

‘You know what this means, don’t you?’ Penelope says excitedly. ‘You can study anything you like, you can have your pick of the universities, you can chose whatever course you like, business studies, medicine, journalism.’

Her sister blushes and laughs, and Penelope hugs her again, knocking her hat off. She strokes Viola’s head, then arranges her hair just as she always did when they were little, takes the clasp with the dove from her own hair and uses it to fasten her sister’s, then looks at her and smiles happily.

3
A boat is left adrift in Jungfrufjärden

The fore cuts the smooth surface of the water like a knife, with a sticky, liquid sound. They’re going very fast. Large waves hit the shore in their wake. They turn steeply and bounce across breaking waves, spraying water around them. Penelope heads out into the open water with the engines roaring. The fore lifts up and plumes of foaming white water spread out behind them.

‘You’re crazy, Madicken!’ Viola shouts, pulling the clasp from her hair, just like she always did as a child when her hair was finally neat.

Björn wakes up when they stop at Gåsö. They buy ice-creams and have coffee. Then Viola wants to play mini-golf, and it’s already late in the afternoon by the time they get going again.

The sea opens up on their port side, like a dizzyingly large stone floor.

The plan is to reach Kastskär, a long, narrow-waisted island that’s uninhabited. There’s a lush bay on the south side where they’re going to drop anchor, swim, have a barbecue and spend the night.

‘I think I’ll go down and have a rest,’ Viola says with a yawn.

‘Go ahead,’ Penelope smiles.

Viola goes down the steps and Penelope looks ahead of them. She lowers their speed and keeps an eye on the electronic depth sounder that will warn them of reefs as they approach Kastskär. The water very quickly gets shallow, from forty metres to just five.

Björn comes into the cabin and kisses Penelope on the back of her neck.

‘Shall I go and start the food?’ he asks.

‘Viola probably ought to sleep for an hour.’

‘You sound like your mother,’ he says gently. ‘Has she phoned yet?’

‘Yes.’

‘To see if we let Viola come with us?’

‘Yes.’

‘Did you have an argument?’

She shakes her head.

‘What is it?’ he asks. ‘Are you upset?’

‘No, it’s just that Mum …’

‘What?’

Penelope smiles as she wipes the tears from her cheeks.

‘She doesn’t want me there for Midsummer,’ she says.

Björn hugs her.

‘Just ignore her.’

‘I do,’ she replies.

Very slowly, Penelope manoeuvres the boat as far into the bay as she can. The engines rumble softly. They’re so close to the shore now that she can smell the plants.

They drop anchor, and the boat swings closer to the rocks. Björn jumps ashore onto the steep slope and ties the rope around a tree.

The ground is covered in moss. He stops and looks at Penelope. Some birds move in the treetops when the windlass rattles.

Penelope pulls on a pair of jogging bottoms and her white trainers, jumps ashore and takes his hand. He wraps his arms round her.

‘Shall we go and take a look at the island?’

‘Wasn’t there something you were going to try to persuade me about?’ she teases.

‘The advantages of the Swedish “right to roam”,’ he says.

She nods and smiles, and he brushes her hair back and runs a finger across her prominent cheekbone and thick, black eyebrow.

‘How can you be so beautiful?’

He kisses her softly on the lips, then starts to walk towards the low-growing woods.

In the middle of the island is a small glade with dense clumps of tall meadow grass. Butterflies and small bumblebees are drifting about above the flowers. It’s hot in the sun, and the water sparkles between the trees to the north. They stand still, hesitate, smiling as they look at each other, then turn serious.

‘What if someone comes?’ she says.

‘We’re the only people on the island.’

‘Are you sure about that?’

‘How many islands are there in the Stockholm archipelago? Thirty thousand? More, probably,’ he says.

Penelope takes off her bikini top, kicks her shoes off and pulls down the rest of her bikini with her jogging bottoms, and is suddenly standing completely naked on the grass. Her initial feeling of embarrassment is replaced almost at once with sheer delight. She can’t help finding the sea air on her skin and the heat radiating up from the ground intensely exciting.

Björn looks at her, mutters something about not being sexist, but that he just wants to look at her for a bit longer. She’s tall, her arms simultaneously muscular and soft. Her narrow waist and powerful thighs make her look like a playful goddess.

Björn can feel his hands shaking as he pulls off his T-shirt and flowery, knee-length shorts. He’s younger than her, his body is boyish, almost hairless, and his shoulders have already caught the sun.

‘Now I want to look at you,’ she says.

He blushes and walks over to her with a big smile.

‘Can’t I?’

He shakes his head and hides his face against her neck and hair.

They start to kiss, very gently, just stand close together kissing each other. Penelope feels his warm tongue in her mouth and a feeling of dizzy happiness courses through her. She forces herself to stop smiling so she can carry on kissing. They start to breathe faster. She feels Björn’s erection growing as his heartbeat quickens. They lie down in the grass, finding a flat spot between the tussocks. His mouth traces its way down to her breasts and brown nipples, then he kisses her stomach and parts her thighs. When he looks at her it seems to him that their bodies are glowing with inner light in the evening sun. Suddenly everything is intensely intimate and sensitive. She’s already wet and swollen when he starts to lick her, very softly and slowly, and she has to push his head away after a while. She presses her thighs together, smiles and blushes. She whispers to him to come closer, pulls him to her, guides him with her hand and lets him slide into her. He breathes heavily in her ear and she looks straight up at the pink sky.

Afterwards she stands naked in the warm grass, stretches, walks a few steps and stares off towards the trees.

‘What is it?’ Björn asks languidly.

She looks at him. He’s sitting on the ground naked, smiling up at her.

‘You’ve burned your shoulders.’

‘Every summer.’

He gently touches the red skin on his shoulders.

‘Let’s go back – I’m hungry,’ she says.

‘I just need to go for a swim.’

She pulls her bikini bottoms and jogging pants back on, pulls her shoes on and stands there with her bikini top in her hand. She lets her eyes roam across his hairless chest, muscular arms, the tattoo on his shoulders, his careless sunburn and bright, playful eyes.

‘Next time you get to lie underneath,’ she smiles.

‘Next time,’ he repeats cheerfully. ‘You’re already a convert, I knew it.’

She laughs and waves at him dismissively. He lies back and stares up at the sky. She hears him whistling to himself as she walks through the trees towards the steep little beach where the boat is moored.

She stops to put her bikini top on before she goes down to the boat.

When Penelope goes on board she wonders if Viola is still asleep in the aft-bunk. She decides to put a pan of new potatoes on to boil with some dill tops, then go and wash and get changed. Rather strangely the aft-deck is wet, as if it has been raining. Viola must have swabbed it down for some reason. The boat feels different. Penelope can’t put her finger on what it is, but suddenly her skin comes out in goosebumps. It’s almost completely silent, the birds have stopped singing. There’s just a gentle lapping sound as the water hits the hull, and the faint creak of the rope around the tree. Penelope suddenly becomes very conscious of her own movements. She goes down the steps to the stern, and sees that the door to the guest cabin is open. The light is on, but Viola isn’t there. Penelope notices that her hand is shaking when she knocks on the door of the little toilet. She opens it and looks inside, then goes back up on deck. Further along the bay she sees Björn on his way down to the water. She waves to him, but he doesn’t see her.

Penelope opens the glass door to the saloon and walks past the blue sofas, teak table and helm.

‘Viola?’ she calls quietly.

She goes down to the galley and takes out a saucepan, but puts it down on the stove when her heart starts to beat even faster. She looks in the bathroom, then carries on to the cabin at the front where she and Björn always sleep. She opens the door and looks round in the gloom, and at first thinks she’s looking at herself in the mirror.

Viola is sitting perfectly still at the top of the bed, her hand resting on the pink cushion from the Salvation Army.

‘What are you doing in here?’

Penelope hears herself ask her sister what she’s doing in the bedroom, even though she’s already realised that something isn’t right. Viola’s face is oddly pale and wet, her hair hanging in damp clumps.

Penelope goes over and takes her sister’s face in her hands, lets out a moan, then a scream, right close to her face.

‘Viola? What is it? Viola?’

But she’s already realised what’s happened, what’s wrong – her sister isn’t breathing, there’s no warmth in her skin, there’s nothing left in her, the flame of life has been extinguished. The cramped room gets darker, closes in around Penelope. She hears herself whimpering in an unfamiliar voice and stumbles backwards, pulling clothes onto the floor, then hits her shoulder hard on the doorpost when she turns and runs up the steps.

When she emerges onto the aft-deck she gasps for breath as if she were close to suffocating. She coughs and looks round with a feeling of ice-cold terror in her body. A hundred metres away on the shore she can see a stranger dressed in black. Somehow Penelope realises how it all fits together. She knows it’s the same man who was sitting in the military inflatable in the shadow under the bridge when they went past. She realises that the man in black killed Viola, and that he isn’t finished yet.

The man is standing on the shore waving to Björn, who is swimming twenty metres out. He’s shouting, holding his arm up. Björn hears him and stops, treading water, then turns to look back towards land.

Time almost stands still. Penelope rushes to the helm and digs about in the toolbox, finds a knife and runs back to the aft-deck.

She sees Björn’s slow strokes, the rings spreading out across the water around him. He’s looking curiously at the man. The man beckons him towards him. Björn smiles uncertainly and starts to swim back to shore.

‘Björn!’ Penelope screams as loudly as she can. ‘Swim away from shore!’

The man on the shore turns towards her, then starts running towards the boat. Penelope cuts through the rope, slips over on the wet wooden deck, gets to her feet, hurries to the helm and starts the engine. Without looking she raises the anchor and puts the boat in reverse.

Björn must have heard her, because he’s turned away from shore and has started to swim towards the boat instead. Penelope steers towards him as she sees the man in black change direction and start running up the slope towards the other side of the island. Without really thinking about it, she realises that the man has left his black inflatable in the bay to the north.

She knows there’s no way they can outrun that.

She slowly turns the big boat and steers towards Björn. She yells at him as she gets closer, then slows down and holds a boathook out to him. The water’s cold. He looks scared and exhausted. His head keeps disappearing below the surface. She manages to hit him with the point of the boathook, cutting his forehead and making it bleed.

‘You have to hold on!’ she shouts.

The black inflatable is already coming into view at the end of the island. She can hear its engine clearly. Björn is grimacing with pain. After several attempts he finally manages to wrap his arm around the boathook. She pulls him towards the swimming platform as fast as she can. He grabs hold of the edge and she lets go of the boathook and watches it drift off across the water.

‘Viola’s dead,’ she screams, hearing the mixture of despair and panic in her voice.

As soon as Björn has climbed up onto the steps she runs back to the wheel and accelerates as hard as she can.

Björn clambers over the railing and she hears him yell at her to steer straight towards Ornäs.

The roar of the inflatable’s motors is rapidly approaching from behind.

She swings the boat round in a tight curve, and the hull rumbles beneath them.

‘He killed Viola,’ Penelope whimpers.

‘Mind the rocks,’ Björn warns, his teeth chattering.

The inflatable has rounded Stora Kastskär and is speeding across the flat, open water.

Blood is running down Björn’s face from the cut on his forehead.

They’re rapidly approaching the large island. Björn turns to see the inflatable some three hundred metres behind them.

‘Aim for the jetty!’

She turns and puts the engines in reverse, then switches them off when the fore hits the jetty with a creak. The whole side of the boat scrapes past some protruding wooden steps. The swell hisses as it hits the rocks and rolls back towards them. The boat rocks sideways and the wooden steps shatter as water washes over the railings. They leap off the boat and hurry across the jetty. Behind them they hear the hull scrape against the jetty on the waves. They race towards land as the black inflatable roars towards them. Penelope slips and puts her hand out, then clambers up the steep rocks towards the trees, gasping for breath. The inflatable’s engines go quiet below them, and Penelope realises that they have barely any advantage at all. She and Björn rush through the trees, deeper into the forest, while her mind starts to panic as she looks around for somewhere they can hide.

4
The floating man

Paragraph 21 of Swedish Police Law permits a police officer to gain entry to a house, room or other location if there is reason to believe that someone may have died, is unconscious or otherwise incapable of calling for help.

The reason why Police Constable John Bengtsson on this Saturday afternoon in June has been instructed to investigate the top flat at Grevgatan 2 is that the director general of the Inspectorate for Strategic Products, Carl Palmcrona, has been absent from work without any explanation and missed a scheduled meeting with the Foreign Minister.

It’s far from the first time that John Bengtsson has had to break into someone’s home to see if anyone is dead or injured. Mostly it’s been because relatives have suspected suicide. Silent, frightened parents forced to wait in the stairwell while he goes in to check the rooms. Sometimes he finds young men with barely discernible pulses after a heroin overdose, and occasionally he has discovered a crime scene, women who have been beaten to death lying in the glow from the television in the living room.

John Bengtsson is carrying his house-breaking tools and an electric pick gun as he walks in through the imposing front entrance. He takes the lift up to the fifth floor and rings the doorbell. He waits a while, then puts his heavy bag down on the floor and inspects the lock. Suddenly he hears a shuffling sound in the stairwell, from the floor below. It sounds like someone is trying to creep silently down the stairs. Police Constable John Bengtsson listens for a while, then reaches out and tries the handle: the door isn’t locked, and glides open softly on its four hinges.

‘Is anyone home?’ he calls.

John Bengtsson waits a few seconds, then pulls his bag into the hall and closes the door, wipes his shoes on the doormat and walks further into the large entrance hall.

Gentle music can be heard in a neighbouring room. He goes over, knocks and walks in. It’s a spacious reception room, sparsely furnished with three Carl Malmsten sofas, a low glass table and a small painting of a ship in a storm on the wall. An ice-blue glow is coming from a flat, transparent music centre. Melancholic, almost tentative violin music is playing from the speakers.

John Bengtsson walks over to the double door and opens them, and finds himself looking into a sitting room with tall, art-nouveau windows. The summer light outside is refracted through the tiny panes of glass in the top sections of the windows.

A man is floating in the centre of the white room.

It looks supernatural.

John Bengtsson stands and stares at the dead man. It feels like an eternity before he spots the washing-line fixed to the lamp-hook.

The well-dressed man is perfectly still, as if he had been frozen in the middle of a big jump, with his ankles stretched and the toes of his shoes pointing down at the floor.

He’s hanging – but there’s something else, something that doesn’t make sense, something wrong.

John Bengtsson mustn’t enter the room. The scene needs to be left intact. His heart is beating fast, he can feel the heavy rhythm of his pulse, and swallows hard, but he can’t tear his eyes from the man floating in the middle of the empty room.

A name has started to echo inside John Bengtsson’s head, almost as a whisper: Joona. I need to speak to Joona Linna.

There’s no furniture in the room, just a hanged man, who in all likelihood is Carl Palmcrona, the director general of the Inspectorate for Strategic Products.

The cord has been fastened to the middle of the ceiling, from the lamp-hook in the middle of the ceiling-rose.

There was nothing for him to climb on, John Bengtsson thinks.

The height of the ceiling is at least three and a half metres.

John Bengtsson tries to calm down, gather his thoughts and register everything he can see. The hanged man’s face is pale, like damp sugar, and he can see no more than a few spots of blood in his staring eyes. The man is wearing a thin overcoat on top of his pale grey suit, and a pair of low-heeled shoes. A black briefcase and a mobile phone are lying on the parquet floor a little way from the pool of urine that has formed immediately beneath the body.

The hanged man suddenly trembles.

John Bengtsson holds his breath.

There’s a heavy thud from the ceiling, hammer-blows from the attic – someone is walking across the floor above. Another thud, and Palmcrona’s body trembles again. Then comes the sound of a drill, which stops abruptly. A man shouts something. He needs more cable, the extension lead, he calls.

John Bengtsson notices his pulse settle down as he walks back through the sitting room. In the hall the front door is standing open. He stops, certain that he closed it properly, but perhaps he was mistaken. He leaves the flat and before he reports back to the station he takes out his mobile phone and calls Joona Linna of the National Crime Unit.

5
National Homicide Commission

It’s the first week of June. In Stockholm people have been waking up too early in the morning for weeks. The sun rises at half past three, and it’s light almost all night through. It’s been unusually warm for the time of year. The cherry trees were in blossom at the same time as the lilac. Heavy clusters of flowers spread their scent all the way from Kronoberg Park to the entrance to the National Police Committee.

The National Crime Unit is Sweden’s only operative police department tasked with combatting serious crime on both a national and international level.

The head of the National Crime Unit, Carlos Eliasson, is standing at his low window on the eighth floor looking out at the steep slopes of Kronoberg Park. He’s holding a phone, and dials Joona Linna’s number, but once again his call goes straight to voicemail. He ends the call, puts the phone down on his desk and looks at his watch.

Petter Näslund comes into Carlos’s office and clears his throat quietly, then stops and leans against a poster saying ‘We watch, scrutinise and irritate.’

From the next room they can hear a weary telephone conversation about European arrest warrants and the exchange of information in the Schengen Zone.

‘Pollock and his team will be here soon,’ Petter says.

‘I know how to tell the time,’ Carlos replies gently.

‘The sandwiches are ready, anyway,’ Petter says.

Carlos suppresses a smile and asks:

‘Have you heard that they’re recruiting?’

Petter’s cheeks go red and he lowers his eyes, then composes himself and looks up again.

‘I’d … Can you think of anyone who’d be better suited to the National Homicide Commission?’ he asks.

The National Homicide Commission consists of six experts who assist with murder cases throughout Sweden. The commission provides systematic support within a framework designed for serious crimes.

The workload of the permanent members of the National Homicide Commission is extreme. They’re in such high demand that they very rarely have time to meet at Police Headquarters.

When Petter Näslund has left the room Carlos sits down behind his desk and looks over at the aquarium and his paradise fish. Just as he is reaching for the tub of fish-food his phone rings.

‘Yes?’ he says.

‘They’re on their way up,’ says Magnus in reception.

‘Thanks.’

Carlos makes one last attempt to get hold of Joona Linna before getting up from his chair, glancing at himself in the mirror and leaving the room. As he emerges into the corridor the lift pings and the door slides open without a sound. At the sight of the members of the National Homicide Commission an image flits quickly through his mind, a memory from a Rolling Stones concert he went to with a couple of colleagues a few years ago. As they walked out on stage, the group reminded him of laidback businessmen. Just like the members of the National Homicide Commission, they were all wearing dark suits and ties.

First is Nathan Pollock, with his grey hair in a ponytail, followed by Erik Eriksson with his diamond-studded glasses, which is why the rest of the team call him Elton. Behind him comes Niklas Dent, alongside P. G. Bondesson, and bringing up the rear is the forensic expert Tommy Kofoed, hunch-backed and staring morosely at the floor.

Carlos shows them into the conference room. Their operational boss, Benny Rubin, is already seated at the round table with a cup of black coffee, waiting for them. Tommy Kofoed takes an apple from the fruit-bowl and starts to eat it noisily. Nathan Pollock looks at him with a smile and shakes his head, and he stops mid-bite and looks back quizzically.

‘Welcome,’ Carlos says. ‘I’m pleased you were all able to come, because we have a number of important issues to discuss on today’s agenda.’

‘Isn’t Joona Linna supposed to be here?’ Tommy Kofoed asks.

‘Yes,’ Carlos replies hesitantly.

‘That guy tends to do as he likes,’ Pollock adds quietly.

‘Joona managed to clear up the Tumba murders a year or so back,’ Tommy Kofoed says. ‘I keep thinking about it, the way he was so certain … he knew in which order the murders had taken place.’

‘Against all obvious logic,’ Elton smiles.

‘There’s not much about forensic science that I don’t know,’ Tommy Kofoed goes on. ‘But Joona just went in and looked at the footprints in the blood, I don’t understand how …’

‘He saw the whole picture,’ Nathan Pollock says. ‘The degree of violence, effort, agitation, and how listless the footprints in the row-house seemed in comparison to the changing room.’

‘I still can’t believe it,’ Tommy Kofoed mumbles.

Carlos clears his throat and looks down at the informal agenda.

‘The marine police have contacted us this morning,’ he says. ‘Apparently a fisherman has found a dead woman.’

‘In his net?’

‘No, he saw a large motor cruiser drifting off Dalarö, rowed out and went on board, and found her sitting on the bed in the front cabin.’

‘That’s hardly anything for the commission,’ Petter Näslund says with a smile.

‘Was she murdered?’ Nathan Pollock asks.

‘Probably suicide,’ Petter replies quickly.

‘Nothing urgent,’ Carlos says, helping himself to a slice of cake. ‘I just thought I’d mention it.’

‘Anything else?’ Tommy Kofoed says cheerfully.

‘We’ve received a request from the police in West Götaland,’ Carlos says. ‘There’s a summary on the table.’

‘I won’t be able to take it,’ Pollock says.

‘I know you’ve all got your hands full,’ Carlos says, slowly brushing some crumbs from the table. ‘Perhaps we should start at the other end and talk about recruitment to the National Homicide Commission.’

Benny Rubin looks around intently, then explains that the high-ups are aware of the heavy workload, and have therefore agreed as a first step to authorise the expansion of the commission by one permanent post.

‘Thoughts, anyone?’ Carlos says.

‘Wouldn’t it be helpful if Joona Linna was here for this discussion?’ Tommy Kofoed asks, leaning across the table and looking through the wrapped sandwiches.

‘It’s not certain he’s going to make it,’ Carlos says.

‘Maybe we could break for coffee first,’ Erik Eriksson says, adjusting his sparkling glasses.

Tommy Kofoed removes the wrapper from a salmon sandwich, pulls out the sprig of dill, squeezes some lemon juice and unwraps the cutlery from the napkin they were rolled up in.

Suddenly the door to the big conference room opens and Joona Linna walks in with his blond hair on end.

‘Syö tilli, pojat,’ he says in Finnish with a grin.

‘Exactly,’ Nathan Pollock chuckles. ‘Eat your dill, boys.’

Nathan and Joona smile as their eyes meet. Tommy Kofoed’s cheeks turn red and he shakes his head with a smile.

‘Tilli,’ Nathan Pollock repeats, and bursts out laughing as Joona walks over and puts the sprig of dill back on Tommy Kofoed’s sandwich.

‘Perhaps we can continue the meeting?’ Petter says.

Joona shakes Nathan Pollock’s hand, then walks over to a spare chair, hangs his dark jacket on the back of it and sits down.

‘Sorry,’ Joona says quietly.

‘Good to have you here,’ Carlos says.

‘Thanks.’

‘We were just about to discuss the issue of recruitment,’ Carlos explains.

He pinches his bottom lip and Petter Näslund begins to squirm on his chair.

‘I think … I think I’ll let Nathan speak first,’ Carlos goes on.

‘By all means,’ Nathan Pollock says. ‘I’m not just speaking for myself, here … Look, we all agree on this, we’re hoping you might want to join us, Joona.’

The room falls silent. Niklas Dent and Erik Eriksson nod. Petter Näslund is sharply silhouetted in the light from the window.

‘We’d like that very much,’ Tommy Kofoed says.

‘I appreciate the offer,’ Joona says, running his fingers through his thick hair. ‘You’re a very smart team, you’ve proved that, and I respect your work …’

They smile.

‘But as for me … I can’t work to a specific framework,’ he explains.

‘We appreciate that,’ Kofoed says quickly. ‘It’s a little rigid, but it can actually be helpful, because of course it’s been proven that …’

He tails off.

‘Well, we just wanted to extend the invitation,’ Nathan Pollock says.

‘I don’t think it would suit me,’ Joona replies.

They look down, someone nods, and Joona apologises when his phone rings. He gets up from the table and leaves the room. A minute or so later he comes back in and takes his jacket from the chair.

‘I’m sorry,’ he says. ‘I’d have liked to stay for the meeting, but …’

‘Has something serious happened?’ Carlos asks.

‘That call was from John Bengtsson, one of our uniforms,’ Joona says. ‘He’s just found Carl Palmcrona.’

‘Found?’ Carlos says.

‘Hanged,’ Joona replies.

His symmetrical face becomes serious and his eyes shimmer like grey glass.

‘Who’s Palmcrona?’ Nathan Pollock asks. ‘I can’t place the name.’

‘Director general of the Inspectorate for Strategic Products,’ Tommy Kofoed answers quickly. ‘He takes the decisions about Swedish arms exports.’

‘Isn’t the identity of anyone working for the ISP confidential?’ Carlos asks.

‘It is,’ Kofoed replies.

‘So presumably the Security Police will be dealing with this?’

‘I’ve already promised John Bengtsson that I’d take a look,’ Joona replies. ‘Apparently there was something that didn’t make sense.’

‘What?’ Carlos asks.

‘It was … No, I should probably take a look with my own eyes first.’

‘Sounds exciting,’ Tommy Kofoed says. ‘Can I tag along?’

‘If you like,’ Joona replies.

‘I’ll come too, then,’ Pollock says quickly.

Carlos tries to say something about the meeting, but realises that it’s pointless. The three men leave the sun-drenched room and walk out into the cool corridor.

6
How death came

Twenty minutes later Detective Superintendent Joona Linna parks his black Volvo on Strandvägen. A silver-grey Lincoln Town Car pulls up behind him. Joona gets out of the car and waits for his two colleagues from the National Homicide Commission. They walk round the corner together and in through the door of Grevgatan 2.

In the creaking old lift up to the top floor Tommy Kofoed asks in his usual cheery voice what Joona has been told so far.

‘The ISP reported that Carl Palmcrona had gone missing,’ Joona says. ‘He doesn’t have any family and none of his colleagues know him privately. But when he didn’t show up for work one of our patrols was asked to take a look. John Bengtsson went to the flat and found Palmcrona hanged, and called me. He said he suspected criminal activity and wanted me to come over at once.’

Nathan Pollock’s craggy face frowns.

‘What made him suspect criminal activity?’

The lift stops and Joona opens the grille. John Bengtsson is standing outside the door to Palmcrona’s apartment. He tucks his notepad in his pocket and Joona shakes his hand.

‘This is Tommy Kofoed and Nathan Pollock from the National Homicide Commission,’ Joona says.

They shake hands briefly.

‘The door was unlocked when I arrived,’ John says. ‘I could hear music, and found Palmcrona hanging in one of the big reception rooms. Over the years I’ve cut down a fair number of men, but this time, I mean … it can hardly be suicide, given Palmcrona’s standing in society, so …’

‘It’s good that you called,’ Joona says.

‘Have you examined the body?’ Tommy Kofoed says gloomily.

‘I haven’t even set foot inside the room,’ John replies.

‘Very good,’ Kofoed mutters, and starts to lay down protective mats with John Bengtsson.

Shortly afterwards Joona and Nathan Pollock are able to enter the hall. John Bengtsson is waiting beside a blue sofa. He points towards the double doors leading to a brightly lit room. Joona walks over on the mats and pushes the doors wide open.

Warm sunlight is streaming in through the row of high windows. Carl Palmcrona is hanging in the middle of the spacious room. He’s wearing a light suit, a summer overcoat and lightweight low-heeled shoes. There are flies crawling across his face, around his eyes and the corners of his mouth, laying tiny yellow eggs and buzzing around the pool of urine and smart briefcase on the floor. The thin washing-line has cut deep into Palmcrona’s neck, the groove is dark red and blood has seeped out and run beneath his shirt.

‘Execution,’ Tommy Kofoed declares, pulling on a pair of protective gloves.

Every trace of moroseness suddenly vanishes from his face and voice. With a smile he gets down on his knees and starts to take photographs of the hanging body.

‘I’d say we’re going to find injuries to his cervical spine,’ Pollock says, pointing.

Joona looks up at the ceiling, then down at the floor.

‘He’s been put on show,’ Kofoed says eagerly as he photographs the dead man. ‘I mean, the murderer isn’t exactly trying to hide the crime. He wants to say something, wants to send a message.’

‘Yes, that’s what I was thinking,’ John Bengtsson says keenly. ‘The room’s empty, there’s no chair, no stepladder to climb on.’

‘So what’s the message?’ Tommy Kofoed goes on, lowering the camera and squinting at the body. ‘Hanging is often associated with treachery, Judas Iscariot and …’

‘Just hold on a moment,’ Joona interrupts gently.

He gestures vaguely towards the floor.

‘What is it?’ Pollock asks.

‘I think it was suicide,’ Joona says.

‘Typical suicide,’ Tommy Kofoed says, and laughs a little too loudly. ‘He flapped his wings and flew up …’

‘The briefcase,’ Joona goes on. ‘If he stood the briefcase on its end he could have reached.’

‘But not the ceiling,’ Pollock points out.

‘He could have fastened the rope earlier.’

‘Yes, but I think you’re wrong.’

Joona shrugs his shoulders and mutters:

‘Together with the music and the knots, then …’

‘Can we take a look at the briefcase, then?’ Pollock asks tersely.

‘I just need to secure the evidence first,’ Kofoed says.

They look on in silence as Tommy Kofoed’s hunched, short frame crawls across the floor unrolling black plastic film covered with a thin layer of gelatine on the floor. Then he carefully presses it down using a rubber roller.

‘Can you take out a couple of bio-packs and a wrapper?’ he asks, pointing at his bag.

‘Cardboard?’ Pollock wonders.

‘Yes, please,’ Kofoed replies, catching the bio-packs that Pollock throws him.

He secures the biological evidence from the floor, then beckons Nathan Pollock into the room.

‘You’ll find shoeprints on the far edge of the briefcase,’ Joona says. ‘It fell backwards and the body swung diagonally.’

Nathan Pollock says nothing, just goes over to the leather briefcase and kneels down. His silver ponytail falls forward over his shoulder as he leans down to lift the case onto one end. Clear, pale grey shoeprints are visible on the black leather.

‘What did I tell you?’ Joona asks.

‘Damn,’ Tommy Kofoed says, impressed, the whole of his tired face smiling at Joona.

‘Suicide,’ Pollock mutters.

‘From a purely technical perspective, anyway,’ Joona says.

They stand and look at the hanged body.

‘So what have we actually got here?’ Kofoed asks, still smiling. ‘A man who makes the decisions about the supply of armaments has committed suicide.’

‘Nothing for us,’ Pollock sighs.

Tommy Kofoed takes his gloves off and gestures towards the hanging man.

‘Joona? What did you mean about the music and the knots?’ he asks.

‘It’s a double sheet bend,’ Joona says, pointing to the knot around the lamp-hook. ‘Which I assumed was linked to Palmcrona’s long career in the navy.’

‘And the music?’

Joona stops and looks thoughtfully at him.

‘What do you make of the music?’ he asks.

‘I don’t know. It’s a sonata, for the violin,’ Kofoed says. ‘Early nineteenth-century or …’

He falls silent when the doorbell rings. The four men look at each other. Joona starts to walk towards the hall and the others follow him, but stop in the sitting room, out of sight of the front door.

Joona carries on across the hall, contemplates using the peep-hole and decides not to. He can feel the air blowing through the keyhole as he reaches out and pushes the handle down. The heavy door glides open. The landing is dark. The timed lamps have gone out and the light from the red-brown glass in the stairwell is weak. Joona suddenly hears slow breathing, very close to him. Laboured, almost heavy breathing from someone he can’t see. Joona’s hand goes to his pistol as he looks cautiously behind the open door. In the thin strip of light between the hinges he sees a tall woman with large hands. She looks like she’s in her mid-sixties. She’s standing perfectly still. There’s a large, skin-coloured plaster on her cheek. Her grey hair is cut short in a girlish bob. She looks Joona straight in the eye without a trace of a smile.

‘Have you taken him down?’ she asks.

7
Helpful people

Joona had thought he was going to be on time for the meeting with the National Homicide Commission at one o’clock.

He was only going to have lunch with Disa at Rosendal Garden on Djurgården. Joona got there early and stood in the sunshine for a while watching the mist that lay over the little vineyard. Then he saw Disa walking towards him, her bag swinging over her shoulder. Her thin face with its intelligent features was covered with early-summer freckles, and her hair, usually gathered in two uneven plaits, was for once hanging loose over her shoulders. She had dressed up, and was wearing a floral-patterned dress and a pair of summery sandals with a stacked heel.

They hugged tenderly.

‘Hello,’ Joona said. ‘You look lovely.’

‘So do you,’ Disa said.

They got food from the buffet and went and sat at one of the outdoor tables. Joona had noticed she was wearing nail varnish. As a senior archaeologist, Disa’s fingernails were usually short and rather dirty. He looked away from her hands, across the fruit garden.

Disa started to eat, and said with her mouth full:

‘Queen Christina was given a leopard by the Duke of Courland. She kept it out here on Djurgården.’

‘I didn’t know that,’ Joona said calmly.

‘I read in the palace accounts that the Treasury paid forty silver riksdaler to help cover the funeral costs of a maid who was killed by the leopard.’

She leaned back and picked up her glass.

‘Joona Linna, stop talking so much,’ she said sarcastically.

‘Sorry,’ Joona said. ‘I …’

He tailed off and suddenly felt as if all the energy were draining from his body.

‘What?’

‘Please, keep talking about the leopard.’

‘You look sad …’

‘I was thinking about Mum … It was exactly a year ago yesterday that she died. I went and left a white iris on her grave.’

‘I miss Ritva a lot,’ Disa said.

She put her knife and fork down and sat quietly for a while.

‘Do you know what she said the last time I saw her? She took my hand,’ Disa said. ‘And then she said I ought to seduce you, and make sure I got pregnant.’

‘I can imagine,’ Joona laughed.

The sun sparkled in their glasses and reflected off Disa’s unusually dark eyes.

‘I said I didn’t think that would work, and then she told me to leave you and never look back, never come back.’

He nodded, but didn’t know what to say.

‘And then you’d be all alone,’ Disa went on. ‘A big, lonely Finn.’

He stroked her fingers.

‘I don’t want that.’

‘What?’

‘To be a big, lonely Finn,’ he said softly. ‘I want to be with you.’

‘And I want to bite you, quite hard, actually. Can you explain that? My teeth always start to tingle when I see you,’ Disa smiled.

Joona reached out his hand to touch her. He knew he was already late for the meeting with Carlos Eliasson and the National Homicide Commission, but went on sitting where he was, chatting and simultaneously thinking that he ought to go to the National Museum to look at the Sami bridal crown.

While he was waiting for Joona Linna, Carlos Eliasson had told the National Homicide Commission about the young woman who had been found dead in a motor cruiser in the Stockholm archipelago. In the minutes of the meeting Benny Rubin noted that the case wasn’t urgent, and that they were going to wait for the marine police’s own investigation.

Joona arrived late for the meeting, and barely had time to sit down before Police Constable John Bengtsson called him. They had known each other for years, and had played indoor hockey against each other for over a decade. John Bengtsson was a likeable man, but when he was diagnosed with prostate cancer almost all of his friends vanished. Nowadays John Bengtsson was completely well again, but, like many people who had felt death breathing down their neck, there was something sensitive and hesitant about him.

Joona stood in the corridor outside the conference room listening to John Bengtsson’s protracted account of what he had found. His voice was full of the weariness that arises in the minutes following extreme stress. He described how he had just found the director general of the Inspectorate for Strategic Products hanging from the ceiling in his own home.

‘Suicide?’ Joona asked.

‘No.’

‘Murder?’

‘Can’t you just come over?’ John asked. ‘Because I can’t make sense of this. The body’s floating above the floor, Joona.’

Together with Nathan Pollock and Tommy Kofoed, Joona had just concluded that they were dealing with a case of suicide when the doorbell of Palmcrona’s home rang. In the darkness of the landing stood a tall woman holding shopping bags in her large hands.

‘Have you taken him down?’ she asked.

‘Taken down?’ Joona repeated.

‘Mr Palmcrona,’ she said matter-of-factly.

‘What do you mean, taken down?’

‘I’m sorry, I’m only the housekeeper, I thought …’

The situation clearly troubled her, and she started to walk down the stairs, but stopped abruptly when Joona replied to her initial question:

‘He’s still hanging there.’

‘Yes,’ she said, and turned to him with a completely neutral expression on her face.

‘Did you see him hanging there earlier today?’

‘No,’ she replied.

‘What made you ask if we’d taken him down? Had something happened? Did you notice anything unusual?’

‘A noose from the lamp-hook in the small drawing room,’ she replied.

‘You saw the noose?’

‘Of course.’

‘But you weren’t worried that he might use it?’ Joona asked.

‘Dying isn’t such a nightmare,’ she replied with a restrained smile.

‘What did you say?’

But the woman merely shook her head.

‘What do you imagine his death looked like?’ Joona asked.

‘I imagine that the noose tightened round his throat,’ she replied in a low voice.

‘And how did the noose get to be round his neck?’

‘I don’t know … perhaps it needed help,’ she said quizzically.

‘What do you mean by help?’

Her eyes rolled back and Joona thought she was going to faint before she reached out for the wall with one hand and met his gaze again.

‘There are helpful people everywhere,’ she said weakly.

8
Nils Åhlén

The swimming pool at Police Headquarters is silent and empty, the glass wall dark and there’s no one in the cafeteria. The large blue pool is almost perfectly still. The water is illuminated from below and the glow undulates gently across the walls and ceiling. Joona Linna swims length after length, maintaining a steady speed and controlling his breathing.

As he swims, memories tumble through his consciousness. Disa’s face as she told him her teeth tingled when she looked at him.

Joona reaches the edge of the pool, turns beneath the water and kicks off. He isn’t aware that he is swimming faster when his thoughts suddenly focus on Carl Palmcrona’s apartment on Grevgatan. Once again he is looking at the hanging body, the pool of urine, the flies on the face. The dead man had been wearing his outdoor clothes, his coat and shoes, but had still taken the time to put some music on.

The whole thing had given Joona the impression of being both planned and impulsive, which is far from unusual with suicides.

He swims faster, turns and speeds up even more, and in his mind’s eye sees himself crossing Palmcrona’s hall to open the door when the bell rang. He sees the tall woman with big hands standing concealed behind the door, in the darkness of the stairwell.

Joona stops at the edge of the pool, breathing hard, and rests his arms on the plastic grille covering the overspill channel. His breathing soon calms down, but the heaviness of the lactic acid in his muscles is still increasing. A group of police officers in gym clothes come into the hall. They’re carrying two life-saving dummies, one representing a child, the other someone badly overweight.

Dying isn’t such a nightmare, the tall woman had said with a smile.

Joona climbs out of the pool with an odd feeling of unease. He doesn’t know what it is, but the case of Carl Palmcrona’s death won’t leave him alone. For some reason he keeps seeing the bright, empty room, hearing the gentle violin music along with the dull buzzing of the flies.

Joona knows they’re dealing with a suicide, and tries to tell himself that it’s no concern of the National Crime Unit. But he still feels like running back to the scene of the discovery again and examining it more thoroughly, searching every room, just to see if he missed anything.

During his conversation with the housekeeper he had imagined that she was confused, that shock had settled around her like dense fog, making her answers opaque and incoherent. But now he tries to look at it the other way round. Perhaps she wasn’t at all shocked or confused, and had answered his questions as accurately as she could. In which case the housekeeper, Edith Schwartz, was claiming that Carl Palmcrona had help with the noose, and there were helping hands, helpful people. In which case she was saying that his death wasn’t a self-imposed act, and that he hadn’t been alone when he died.

There’s something that doesn’t make sense.

He knows he’s right, but he can’t identify what the feeling is.

Joona goes through the door to the men’s changing room, opens his locker, takes out his phone and calls senior pathologist Nils “The Needle” Åhlén.

‘I’m not finished,’ The Needle says when he answers.

‘It’s about Palmcrona. What are your first impressions, even if …?’

‘I’m not finished,’ The Needle repeats.

‘Even if you’re not finished,’ Joona says, finishing his sentence.

‘Call in on Monday.’

‘I’m coming now,’ Joona says.

‘At five o’clock I’m going to look at a sofa with my wife.’

‘I’ll be with you in twenty-five minutes,’ Joona says, and ends the call before The Needle can repeat that he isn’t finished.

As Joona showers and gets dressed, he hears the sound of children laughing and talking, and realises that a swimming lesson is about to start.

He ponders the significance of the fact that the director general of the Inspectorate for Strategic Products has been found hanged. The person who, when it comes down to it, takes all the final decisions about Swedish arms manufacture and export, is dead.

What if I’m wrong, what if he was murdered after all? Joona asks himself. I need to talk to Pollock before I go and see The Needle, because he and Kofoed may have had a chance to look at the material from the crime scene investigation.

Joona strides along the corridor, runs down a flight of steps and calls his assistant, Anja Larsson, to find out if Nathan Pollock is still in Police Headquarters.

9
About close combat

Joona’s thick hair is still soaking wet when he opens the door to Lecture Room 11 where Nathan Pollock is giving a lecture to a select group of men and women who are training to handle hostage situations and rescues.

On the wall behind Pollock is a computer projection of an anatomical drawing of the human body. Several different types of handgun are laid out on a table, from a small, silver Sig Sauer P238 to a matt-black assault rifle from Heckler & Koch with a 40mm grenade launcher attachment.

One of the young officers is standing in front of Pollock, who pulls a knife, holds it concealed against his body, then rushes forward and pretends to cut the officer’s throat. Then he turns to the group.

‘The disadvantages of that sort of attack are that the enemy may have time to cry out, that the movement of the body can’t be controlled, and it takes a while for them to bleed out because you’ve only opened one artery,’ Pollock explains.

He goes over to the young officer again and wraps his arm around his face, so that the crook of his arm is covering his mouth.

‘But if I do it this way instead, I can muffle any scream, manoeuvre his head and sever both arteries with a single cut,’ he says.

Pollock lets go of the young officer and notices that Joona Linna is standing just inside the door. He must have only just arrived, while he was demonstrating those two grips. The young police officer wipes his mouth and sits back down in his chair. Pollock smiles broadly and waves at Joona, beckoning him forward, but Joona shakes his head.

‘I’d like a few words, Nathan,’ he says quietly.

Some of the officers turn to look. Pollock walks over to him and they shake hands. Joona’s jacket is dark where his wet hair has touched it.

‘Tommy Kofoed secured shoeprints from Palmcrona’s home,’ Joona says. ‘I need to know if he found anything unexpected.’

‘I didn’t think there was any urgency?’ Nathan replies in a muted voice. ‘Obviously we photographed all the impressions, but we haven’t had time to analyse the results. I can’t give you any sort of overall picture right now …’

‘But you did see something,’ Joona says.

‘When I put the images into the computer … it could be a pattern, but it’s too early to …’

‘Just tell me – I have to go.’

‘It looks like there were prints from two different set of shoes moving in two circles around the body,’ Nathan says.

‘Come with me to see Nils Åhlén,’ Joona says.

‘Now?’

‘I’m supposed to be there in twenty minutes.’

‘Damn, I can’t,’ Nathan replies, gesturing towards the room. ‘But I’ll have my phone on in case you need to ask anything.’

‘Thanks,’ Joona says, and turns to leave.

‘You … you don’t want to say hello to this lot?’ Nathan asks.

They’ve all turned round now and Joona gives them a brief wave.

‘So, this is Joona Linna, who I’ve told you about,’ Nathan Pollock says, raising his voice. ‘I’m trying to persuade him to come and give a lecture on close combat.’

The room falls silent as they all look at Joona.

‘Most of you probably know more about martial arts than I do,’ Joona says with a slight smile. ‘The only thing I’ve learned is … when it’s real, there are suddenly completely different rules. No art, just fighting.’

‘Pay attention to this,’ Pollock says keenly.

‘In reality you only survive if you have the ability to adapt to changing circumstances and turn them to your advantage,’ Joona goes on calmly. ‘Practise making the most of the circumstances … you might be in a car, or on a balcony. The room might be full of teargas. Maybe the floor is covered with broken glass. There may be weapons, other implements. You don’t know if you’re at the start or the end of a chain of events. So you need to save your energy so you can keep working, so you can get through a whole night … So any flying kicks and cool roundhouse kicks are out of the question.’

A few of them laugh.

‘In unarmed close combat,’ Joona goes on, ‘it’s often a matter of accepting some pain in order to bring things to a rapid conclusion … but I don’t really know much about this.’

Joona walks out of the lecture room. Two of the officers clap. The door closes and the room falls silent. Nathan Pollock smiles to himself as he walks back to the table.

‘I was actually planning to save this for a later occasion,’ he says, and clicks the computer. ‘This recording is already a classic … from the hostage drama at the Nordea Bank on Hamngatan nine years ago. Two robbers. Joona Linna has already got the hostages out, and has incapacitated one of the men, who was armed with an Uzi. It was a fairly vicious fire-fight. The other guy is hiding, but only armed with a knife. They’d sprayed all the security cameras, but missed this one … We’ll take it in slow motion because it only lasts a matter of seconds.’

Pollock hits play and the film starts. A grainy shot of a bank filmed from above comes into view. The seconds tick by on the timer at the bottom of the screen. The furniture has been thrown about, the floor is littered with paper and documents. Joona is moving smoothly sideways, his pistol raised, his arm straight. He’s moving slowly, as if underwater. The bank robber is hiding behind the open vault door with a knife in his hand. Suddenly he darts forward with long, smooth strides. Joona turns the pistol on him, aiming straight at his chest, and fires.

‘The pistol clicks,’ Pollock says. ‘Faulty bullet stuck in the chamber.’

The grainy footage flickers. Joona moves backwards as the man with the knife rushes at him. The whole thing is eerily silent and fluid. Joona ejects the cartridge, but realises that he’s not going to have time. Instead he turns the useless pistol round, so that the barrel runs parallel to the bone in his lower arm.

‘I don’t get it,’ one woman says.

‘He turns the pistol into a tonfa,’ Pollock explains.

‘A what?’

‘It’s a sort of baton … like the ones the American police use, it extends your reach and increases the power of any blow because the area of impact is smaller.’

The man with the knife has reached Joona. He takes a long, hesitant step. The knife-blade glints as it describes a semi-circle, aimed at Joona’s torso. The man’s other hand is raised, and follows the rotation of his body. Joona isn’t even looking at the knife, and moves forward instead, taking a long stride and striking hard as he does so. He hits the man on the neck, just below his Adam’s apple, with the barrel of the pistol.

The knife spins as it falls towards the floor as if in a dream, and the man sinks to his knees, opens his mouth wide, clutches his neck and then collapses to the floor.

10
Drowned

Joona Linna is sitting in his car on Fleminggatan, on his way to the Karolinska Institute in Solna, thinking about Carl Palmcrona’s hanging body, the tense washing-line, the briefcase on the floor.

In his mind Joona tries adding the two circles of shoeprints on the floor around the dead man.

This case isn’t over yet.

Joona turns onto Klarastrandsleden. He drives along the side of the canal where the trees have already woven their leafy baskets, leaning into the water, sinking their branches into the smooth, mirror-like surface.

In his mind’s eye he sees the housekeeper, Edith Schwartz, again – every detail, the veins on the large hands holding the bags of shopping, and the way she said that there are helpful people everywhere.

The Department of Forensic Medicine is situated among the trees and neat lawns of the large Karolinska Hospital campus, a red-brick building at Retzius väg 5, surrounded by large buildings on all sides.

Joona pulls into the empty visitors’ car park. He notes that senior pathologist Nils Åhlén has driven over the kerb and parked his white Jaguar in the middle of the lawn next to the main entrance.

Joona waves to the woman in reception, who responds by giving him the thumbs-up, and he carries on along the corridor, knocks on Nils Åhlén’s door and walks in. As usual, The Needle’s office is utterly free from superfluous objects.

The blinds are drawn, but the sunlight is still filtering in between the blades. The light reflects off all the white surfaces, but sinks into the expanses of brushed grey steel.

The Needle is wearing his white-framed aviator glasses and a white polo-neck under his white coat.

‘I’ve just issued a parking ticket to a badly parked Jaguar outside,’ Joona says.

‘Good,’ Nils says.

Joona stops in the middle of the floor and becomes serious. His eyes turn silvery dark.

‘So, how did he die?’ he asks.

‘Palmcrona?’

‘Yes.’

The phone rings and The Needle nudges the post-mortem report towards Joona.

‘You didn’t have to come all the way out here to get an answer to that,’ he says before picking up the receiver.

Joona sits down opposite him on the chair with a white leather seat. The post-mortem on Carl Palmcrona’s body is finished. Joona leafs through it, stopping to read different passages at random.

74. Kidneys weight a total of 290 grams. Smooth surface. Tissue grey-red. Consistency firm, elastic. Clear delineation.

75. Urinary ducts appear normal.

76. Bladder empty. Mucous membrane pale.

77. Prostate normal size. Tissue pale.

The Needle nudges his aviator glasses up his narrow, bent nose, then ends the phone call and looks up.

‘As you can see,’ he says with a yawn, ‘there’s nothing unexpected. Cause of death is asphyxia … With a full-blown hanging, of course, it’s rarely a matter of suffocation in the common sense, but of a blockage of the arteries.’

‘The brain suffocates because the supply of oxygenated blood stops.’

The Needle nods.

‘Arterial compression, bilateral constriction of the carotid arteries, and of course it happens very fast, he would have been unconscious within a matter of seconds …’

‘But he was still alive before he was hanged?’ Joona asks.

‘Yes.’

The Needle’s thin face is clean-shaven and gloomy.

‘Can you estimate the height of the drop?’ Joona asks.

‘There are no fractures in the cervical spine or the base of the skull – so I’d guess ten, twenty centimetres.’

‘Right …’

Joona thinks about the briefcase and the prints from Palmcrona’s shoes. He opens the report again and leafs through to the external examination: the skin of the neck and the estimated angles.

‘What are you thinking?’ The Needle asks.

‘I’m wondering if there’s any chance he was strangled with the same cord, and then just strung up from the ceiling.’

‘No,’ Nils replies.

‘Why not?’ Joona asks quickly.

‘Why not? There was only one groove, and it was in perfect condition.’ Nils begins to explain, ‘When a person is hanged, the rope or cord obviously cuts into the throat, and …’

‘But a perpetrator could also know that,’ Joona interrupts.

‘It’s practically impossible to reconstruct, though … you know, with a real hanging the groove around the neck forms the shape of an arrowhead, with the point uppermost, just by the knot …’

‘Because the weight of the body tightens the noose.’

‘Exactly … and for the same reason the deepest part of the groove should be exactly opposite the point.’

‘So he died from being hanged,’ Joona concludes.

‘No question.’

The tall, thin pathologist bites his bottom lip gently.

‘But could he have been forced to commit suicide?’ Joona asks.

‘Not by force – there’s no sign of that.’

Joona closes the report and drums on it with both hands, thinking that the housekeeper’s comment that other people were involved in Palmcrona’s death must have been just confused talk. But he can’t get away from the two different shoeprints Tommy Kofoed had found.

‘So you’re certain of the cause of death?’ Joona says, looking The Needle in the eye.

‘What were you expecting?’

‘This,’ Joona says, putting his finger in the post-mortem report. ‘This is exactly what I was expecting, but at the same time there’s something nagging at me.’

The Needle gives him a wry smile:

‘Take the report away and read it at bedtime.’

‘Yes,’ Joona says.

‘But I think you can probably let go of Palmcrona … suicide is about as exciting as this case gets.’

The Needle’s smile fades and he lowers his gaze, but Joona’s eyes are still sharp, focused.

‘I daresay you’re right,’ he says.

‘Yes,’ Nils replies. ‘I’m happy to speculate a bit, if you like … Carl Palmcrona was probably depressed, because his fingernails were ragged and dirty, his teeth hadn’t been brushed for a few days and he hadn’t shaved.’

‘I see,’ Joona nods.

‘You’re welcome to take a look at him.’

‘No need,’ he replies, and gets heavily to his feet.

The Needle leans forward and says with great alacrity, as if he’s been looking forward to this moment:

‘But this morning I got something considerably more interesting. Have you got a few minutes?’

He gets up from his chair and gestures for Joona to follow him. Joona goes with him into the corridor. A pale blue butterfly has got lost and is fluttering in the air ahead of them.

‘Has that young guy left?’ Joona asks.

‘Who?’

‘The one who was here before, with the ponytail and …’

‘Frippe? God, no. He’s not allowed to leave. He’s got the day off. Megadeth are playing in the Globe, with Entombed as the support act.’

They walk through a dimly lit room containing a stainless steel post-mortem table. There’s a strong smell of disinfectant. They carry on into a cooler room where the bodies are kept in refrigerated drawers.

The Needle opens another door and turns the light on. The fluorescent tubes flicker and illuminate a white-tiled room with a long, plastic-covered examination table with a double rim and drainage channels.

On the table is an extremely beautiful young woman.

Her skin is suntanned, her long, dark hair lies glossy and curly across her forehead and shoulders. It looks as if she’s gazing up at the room with a mixture of hesitancy and surprise.

There’s something almost cheeky about the set of her mouth, like someone who laughs and smiles a lot.

But there’s no sparkle in those big, dark eyes. Tiny dark-brown spots have already begun to appear.

Joona stops and looks at the woman on the table. He guesses she’s nineteen, twenty at most. No time at all since she was a young child sleeping with her parents. Then she turned into a half-grown schoolgirl, and now she’s dead.

Across the woman’s chest, on the skin above her breastbone, is a faint curved line, like a smiley mouth drawn on in grey, some thirty centimetres long.

‘What’s that line?’ Joona asks, pointing.

‘No idea. An impression from a necklace, perhaps, or a low-cut top. I’ll take a closer look later.’

Joona looks at the lifeless body, takes a deep breath, and – as usual when he is confronted by the absolute implacability of death – a gloom settles on him, a colourless loneliness.

Life is so terrifyingly fragile.

Her finger- and toenails are painted a pinkish-beige colour.

‘What’s so special about her, then?’ he asks after a few moments.

The Needle looks at him seriously, and his glasses glint as he turns back towards the body again.

‘The marine police brought her in,’ he says. ‘She was found sitting on the bed in the front cabin of a large motor cruiser that was drifting in the archipelago.’

‘Dead?’

Nils meets his gaze and says, with a sudden lilt in his voice:

‘She drowned, Joona.’

‘Drowned?’

The Needle nods and smiles brightly.

‘She drowned on board a boat that was still afloat,’ he says.

‘So someone found her in the water and brought her on board.’

‘Well, if that had happened I wouldn’t be taking up your valuable time,’ Nils says.

‘So what’s this all about, then?’

‘There’s no trace of water on the rest of the body – I’ve sent her clothes for analysis, but the National Forensics Lab aren’t going to find anything either.’

The Needle falls silent, glances through the preliminary external report, then glances at Joona to see if he’s managed to pique his curiosity. Joona is standing completely still, and his face looks completely different now. He’s looking at the dead body with an expression of intense concentration. Suddenly he takes a pair of latex gloves from the box and pulls them on. The Needle smiles happily to himself as Joona leans over the girl, then carefully lifts her arms and studies them.

‘You won’t find any signs of violence,’ Nils says, almost inaudibly. ‘It’s incomprehensible.’

11
In the front cabin

The large motor cruiser is moored at the marine police marina on Dalarö. It lies at anchor between two police boats, white and shiny.

The tall metal gates to the marina are open. Joona Linna drives slowly in along the gravel track, past a mauve van and a crane with a rusty winch. He parks, leaves the car and walks on.

A boat has been found abandoned, drifting in the archipelago, thinks Joona. On the bed in the front cabin sits a girl who has drowned. The boat is afloat, but the girl’s lungs are full of brackish seawater.

From a distance Joona stops and looks at the boat. The front of the hull has been seriously damaged; long scratches run along the side, from a violent collision, damaging the paint and the fibreglass beneath.

He calls Lennart Johansson of the marine police.

‘Lennart,’ a voice answers brightly.

‘Lennart Johansson?’ Joona asks.

‘Yes, that’s me.’

‘My name is Joona Linna, National Crime.’

The line goes quiet. Joona can hear what sounds like waves lapping.

‘The motor cruiser that you brought in,’ Joona says. ‘I was wondering if it had taken on any water?’

‘Water?’

‘The hull is damaged.’

Joona takes a few steps closer to the boat as Lennart Johansson explains in a tone of heavy resignation:

‘Dear Lord, if I had a penny for every drunk who crashed …’

‘I need to look at the boat,’ Joona interrupts.

‘Look, here’s a broad outline of what happened,’ Lennart Johansson says. ‘Some kids from … I don’t know, let’s say Södertälje. They steal a boat, pick up some girls, cruise about, listen to music, party, drink a lot. In the middle of everything they hit something, quite a hard collision, and the girl falls overboard. The guys stop the boat, drive back and find her, get her up on deck. When they realise she’s dead they panic, so damn frightened that they just take off.’

Lennart stops and waits for a response.

‘Not a bad theory,’ Joona says slowly.

‘It’s not, is it?’ Lennart says cheerfully. ‘It’s all yours. Might save you a trip to Dalarö.’

‘Too late,’ Joona says, as he starts to walk towards the marine police boat.

It’s a Stridsbåt 90E, moored behind the motor cruiser. A tanned, bare-chested man in his mid-twenties is standing on deck holding a phone to his ear.

‘Suit yourself,’ he says. ‘Feel free to book a sightseeing trip.’

‘I’m here already – and I think I’m looking right at you, if you’re standing on one of your shallow …’

‘Do I look like a surfer?’

The suntanned man looks up with a smile and scratches his chest.

‘Pretty much,’ Joona says.

They end the call and walk towards each other. Lennart Johansson pulls on a short-sleeved uniform shirt and buttons it as he crosses the gangplank.

Joona holds up his thumb and little finger in a surfers’ gesture. Lennart’s white teeth flash in his suntanned face.

‘I go surfing whenever there’s enough swell – that’s why I’m known as Lance.’

‘I can see why,’ Joona jokes drily.

‘Right?’ Lennart laughs.

They walk over to the boat and stop on the jetty beside the gangplank.

‘A Storebro 36, Royal Cruiser,’ Lennart says. ‘Good boat, but it’s seen better days. Registered to a Björn Almskog.’

‘Have you contacted him?’

‘Haven’t had time.’

They take a closer look at the damage to the boat’s hull. It looks recent, there’s no algae among the glass fibres.

‘I’ve asked a forensics specialist to come out – he should be here soon,’ Joona says.

‘She’s taken a serious knock,’ Lennart says.

‘Who’s been on board since the boat was found?’

‘No one,’ he replies quickly.

Joona smiles and waits with a patient expression on his face.

‘Well, me, of course,’ Lennart says hesitantly. ‘And Sonny, my colleague. And the paramedics who removed the body. And our forensics guy, but he used floor mats and protective clothing.’

‘Is that all?’

‘Apart from the old boy who found the boat.’

Joona doesn’t answer, just looks down at the sparkling water and thinks about the girl on the table in the Department of Forensic Medicine with The Needle.

‘Do you know if your forensics guy secured all the surface evidence?’ he asks after a while.

‘He’s done with the floor, and he’s filmed the scene.’

‘I’m going on board.’

A narrow, worn gangplank leads from the jetty to the boat. Joona climbs aboard and then stands on the aft-deck for a while. He looks around slowly, scanning everything carefully. This is the first and only time he will see the crime scene like this, as a first impression. Every detail he registers now could be vital. Shoes, an overturned sun-lounger, large towel, a paperback that has turned yellow in the sun, a knife with a red plastic handle, a bucket on a rope, beer tins, a bag of charcoal, a tub containing a wetsuit, bottles of sun cream and lotion.

He looks through the large window at the wooden furnishings of the saloon and helm. From a certain angle fingerprints on the glass door stand out in the sunlight, impressions of hands that have pushed the door open, closed it again, reached for it when the boat rocked.

Joona enters the small saloon. The afternoon sun is glinting off the wood veneers and chrome. There’s a cowboy hat and a pair of sunglasses on the navy-blue cushions on one of the sofas.

The water outside is lapping against the hull.

Joona’s eyes roam across the worn floor of the saloon and down the narrow steps to the front of the boat. It’s as dark as a deep well down there. He can’t see anything until he turns his torch on. The cool, tightly focused beam illuminates the steep passageway. The red wood shimmers like the inside of a body. Joona goes down the creaking steps, thinking of the girl, toying with the idea that she was alone on the boat, dived from the foredeck, hit her head on a rock, breathed water into her lungs but somehow managed to get back on board, change out of her wet bikini into dry clothes. Perhaps she was already feeling tired and went down into the cabin, not realising that she was as badly hurt as she was, not realising that actually she had a serious concussion that was rapidly increasing the pressure on her brain.

But Nils would have found traces of brackish water on her body.

It doesn’t make sense.

Joona goes down the steps, past the galley and bathroom, into the main cabin.

There’s a lingering feeling from her death on the boat, even though her body has been moved to the Department of Forensic Medicine in Solna. It’s the same feeling every time. Somehow the objects stare silently back at him, full of screams, cramps, silence.

Suddenly the boat creaks differently and seems to lean to one side. Joona waits and listens, then carries on into the cabin.

Summer light is streaming through the narrow windows by the ceiling, onto a double bed with its top end shaped to fit the bow of the boat. This was where she was found, in a seated position. There’s an open sports bag on the floor, and a polka-dotted nightdress has been unpacked. On the back of the door are a pair of jeans and a thin cardigan. A shoulder bag is hanging from a hook.

The boat sways again and a glass bottle rolls across the deck above his head.

Joona photographs the bag from various angles with his mobile phone. The flash makes the little room shrink, as if the walls, floor and ceiling all took a step closer for an instant.

He carefully takes the bag down off the hook and carries it up on deck. The steps creak under his weight. He can hear a metallic clicking sound from outside. When he reaches the saloon an unexpected shadow crosses the glass door. Joona reacts and takes a step back, into the gloom of the stairwell.

12
Unusual death

Joona Linna stands completely still, just two steps down on the dark flight of steps leading to the galley and front cabin. From there he can see the bottom of the glass doors and some of the aft-deck. A shadow crosses the dusty glass, and suddenly a hand comes into view. Someone is creeping across the deck. The next moment he recognises Erixon’s face. Drops of sweat are running down his cheeks as he rolls out his gelatine foil over the area around the door.

Joona takes the bag from the cabin up into the saloon with him. He carefully turns it upside down over the little hardwood table. Then he pokes the red wallet open with his pen. There’s a driver’s licence in the worn plastic pocket. He looks more closely and sees a beautiful, serious face caught in the flash of a photograph booth. She’s leaning back slightly, as if looking up. Her hair is dark and curly. He recognises the girl from the table in the pathology lab, her straight nose, eyes, South American features.

‘Penelope Fernandez,’ he reads on the driver’s licence, and thinks that he’s heard that name before.

In his mind he goes back to the pathology lab, with the naked body on the table, the tiled roof, the smell of death, her slack features, a face beyond sleep.

Outside in the sunshine Erixon’s bulky frame is moving very slowly as he secures fingerprints from the railing, brushing them with magnetic powder and using tape to lift them. Slowly he wipes one wet area, adds some drops of SPR solution and photographs the imprint that appears.

Joona can hear him sighing deeply the whole time, as if every movement required painful effort, as if he’d just expended the last of his energy.

Joona looks out at the deck, and sees a bucket on a rope next to a training shoe. A faint smell of potatoes is coming from the galley.

He turns back at the driver’s licence and the little photograph. He looks at the young woman’s mouth, at the slightly parted lips, and suddenly realises that something is missing.

It feels like he’s seen something, was on the point of saying something, but forgot what.

He starts when his phone begins to vibrate in his pocket. He takes it out, sees from the screen that it’s The Needle, and answers.

‘Joona.’

‘My name is Nils Åhlén, and I’m a senior pathologist at the Department of Forensic Medicine in Stockholm.’

Joona smiles: they’ve known each other for twenty years, and he’d recognise The Needle’s voice without any introduction.

‘Did she hit her head?’ Joona asks.

‘No,’ Nils replies, surprised.

‘I thought maybe she hit a rock when she was diving.’

‘No, nothing like that – she drowned, that was the cause of death.’

‘You’re sure?’ Joona persists.

‘I’ve found fungus inside her nostrils, perforations in the mucous membrane in her throat, probably the result of a severe vomit reflex, and there are bronchial secretions in both her trachea and bronchi. Her lungs look typical for a drowning: full of water, increased weight, and … well.’

They fall silent. Joona can hear a scraping sound, as if someone were pushing a metal trolley.

‘You had a reason for calling,’ Joona says.

‘Yes.’

‘Do you feel like telling me?’

‘She had a high concentration of tetrahydro‌cannabinol in her urine.’

‘Cannabis?’

‘Yes.’

‘But she didn’t die of that,’ Joona says.

‘Hardly,’ Nils says, sounding amused. ‘I just assumed that you were probably busy reconstructing the sequence of events on the boat, and that this was one little detail of the puzzle that you may not have known about.’

‘Her name is Penelope Fernandez,’ Joona says.

‘Good to know,’ Nils mutters.

‘Was there anything else?’

‘No.’

Nils breathes down the phone.

‘Say it anyway,’ Joona says.

‘It’s just that this isn’t an ordinary death.’

He falls silent.

‘What have you spotted?’

‘Nothing, it’s just a feeling …’

‘Great,’ Joona says. ‘Now you’re starting to sound like me.’

‘I know, but … Obviously it could be a case of mors subita naturalis, a swift but entirely natural death … There’s nothing to contradict that, but if this is a natural death, it’s a very unusual natural death.’

They end the call, but The Needle’s words are echoing through Joona’s head: mors subita naturalis. There’s something mysterious about Penelope Fernandez’s death. Her body wasn’t just found in the water by someone and brought on board. Because then she would have been lying on deck. Okay, so whoever found her may have wanted to show the dead woman some respect. But in that case they would have carried her into the saloon and laid her on the sofa.

The last alternative, Joona thinks, is of course that she was taken care of by someone who loved her, who wanted to put her to bed in her own room, in her own bed.

But she was sitting on the bed. Sitting.

Maybe The Needle is wrong, maybe she was still alive when she was helped back on board and shown to her room. Her lungs could have been badly damaged, beyond salvation. Maybe she felt ill, wanted to lie down and be left in peace.

But why was there no water on her clothes, or the rest of her body?

There’s a fresh-water shower on board, Joona thinks, and tells himself that he’s going to have to search the rest of the boat: check the aft-cabin, as well as the bathroom and galley. There’s a lot left to look at before the whole picture starts to emerge.

When Erixon gets to his feet and takes a couple of steps, the whole boat rocks again.

Once more Joona looks out through the glass doors from the saloon, and for a second time finds himself staring at the bucket on a rope. It’s standing next to a zinc wash-tub where someone had left a wetsuit. There are water-skis by the railing. Joona looks back at the bucket again. He looks at the rope tied to the handle. The curved zinc tub shimmers in the sun, shining like a new moon.

Suddenly it hits him: Joona can see the sequence of events with icy clarity. He waits, lets his heart settle down, and thinks through what happened once more, until he is now absolutely certain that he’s right.

The woman now identified as Penelope Fernandez was drowned in the wash-tub.

Joona thinks back to the curved mark on her chest that he noticed in the pathology lab, which made him think of a smiling mouth.

She was murdered, then placed on the bed in her cabin.

His thoughts start to come faster now as adrenalin pumps through his body. She was drowned in brackish seawater and then placed on her bed.

This isn’t an ordinary death, and this isn’t an ordinary murderer.

A tentative voice starts to echo inside him, getting faster and more insistent. It keeps repeating the same five words, louder and louder: Get off the boat now, get off the boat now.

Joona looks at Erixon through the glass as he drops a swab in a small paper bag, seals it with tape and writes on it with a ballpoint pen.

‘Peekaboo,’ Erixon smiles.

‘We’re going ashore,’ Joona says calmly.

‘I don’t like boats, they keep moving the whole time, but I’ve only just got …’

‘Take a break,’ Joona says sharply.

‘What’s got into you now?’

‘Just follow me and don’t touch your phone.’

They go ashore and Joona leads Erixon a short way from the boat before he stops. He can feel his cheeks flush as calmness spreads through his body, settling as a weight in his thighs and calves.

‘There could be a bomb on board,’ he says quietly.

Erixon sits down on the edge of a concrete plinth. Sweat is dripping from his forehead.

‘What are you talking about?’

‘This is no ordinary murder,’ Joona says. ‘There’s a risk that …’

‘Murder? There’s nothing to suggest …’

‘Hold on,’ Joona interrupts. ‘I’m certain that Penelope Fernandez was drowned in the wash-tub that was out on deck.’

‘Drowned? What the hell are you saying?’

‘She drowned in seawater in the tub, then was moved to the bed,’ Joona goes on. ‘And I think the plan was that the boat should sink.’

‘But …’

‘Because then … then she’d be found in her water-filled cabin with water in her lungs.’

‘But the boat never sank,’ Erixon says.

‘That’s what made me start to wonder if there is some sort of explosive device on board, a device that didn’t go off, for whatever reason.’

‘It’s probably next to the fuel tank or the gas cylinders in the galley,’ Erixon says slowly. ‘We’ll have to get the area evacuated and call in the Bomb Squad.’

13
Reconstruction

At seven o’clock that evening five very serious men meet in room 13 of the Department of Forensic Medicine at the Karolinska Institute. Detective Superintendent Joona Linna wants to take charge of the preliminary investigation into the case of the woman who was found dead on a boat in the Stockholm archipelago. Even though it’s Saturday, he has summoned his immediate boss, Petter Näslund, and Chief Prosecutor Jens Svanehjälm to a reconstruction in order to try to convince them that they’re actually dealing with a murder.

One of the fluorescent tubes in the ceiling keeps flickering. The cool lighting glints off the dazzling white tiled walls.

‘Need to change the starter,’ The Needle murmurs.

‘Yes,’ Frippe agrees.

Petter Näslund mutters something under his breath from where he’s standing over by the wall. His wide, strong face looks like it’s shaking in the flickering light. Beside him stands Chief Prosecutor Jens Svanehjälm with an irritable expression on his young face. He seems to be considering the risks of putting his leather briefcase down on the floor and leaning against the wall in his smart suit.

There’s a strong smell of disinfectant in the room. Large, adjustable lamps hang from the ceiling above a free-standing stainless steel table, with a double tap and deep drainage channels. The floor is covered with pale grey linoleum. A zinc tub like the one on the boat is already half full of water. Joona Linna keeps fetching more water in a bucket from the tap on the wall above the drain, and then emptying it into the tub.

‘It isn’t actually against the law for someone to be found drowned on a boat,’ Svanehjälm says impatiently.

‘Quite,’ Petter says.

‘This could just be an accidental drowning that hasn’t been reported yet,’ Svanehjälm goes on.

‘The water in her lungs is the same water the boat was floating in, but there’s practically none of that water on her clothes or the rest of her body,’ The Needle says.

‘Strange,’ Svanehjälm says.

‘There’s bound to be a rational explanation,’ Petter says with a smile.

Joona empties one last bucket into the tub, then puts the bucket on the floor, looks up at the others and thanks them for coming.

‘I know it’s the weekend and everyone would rather be at home,’ he says. ‘But I think I’ve noticed something important.’

‘Of course we’re going to come if you tell us it’s important,’ Svanehjälm says amiably, and finally puts his briefcase down between his feet.

‘The perpetrator made his way onto the leisure cruiser,’ Joona says seriously. ‘He went down the steps to the front cabin and saw Penelope Fernandez asleep, then went back up to the aft-deck, dropped the bucket on the rope into the water and started to fill the wash-tub that was standing on deck.’

‘Five, six buckets,’ Petter says.

‘Then, when the tub was full, he went down to the cabin and woke Penelope. He took her up the steps and out onto the deck, where he drowned her in the tub.’

‘Who would do something like that?’ Svanehjälm asks.

‘I don’t know yet, maybe it was some sort of torture, like waterboarding …’

‘Revenge? Jealousy?’

Joona tilts his head and says thoughtfully:

‘This isn’t any ordinary murderer. Maybe the perpetrator wanted information from her, to get her to say or admit to something, before finally holding her underwater until she could no longer resist the urge to breathe in.’

‘What does our pathologist say?’ Svanehjälm asks.

The Needle shakes his head.

‘If she was drowned,’ he says, ‘then I’d have found signs of violence on her body, bruises and …’

‘Can we wait with the objections?’ Joona interrupts. ‘Because I’d like to start by showing what I think happened, the way it looks in my head. And then, once I’m done, I’d like us all to go and look at the body, and see if there’s any basis for my theory.’

‘Why can’t you ever do anything the way it’s supposed to be done?’ Petter asks.

‘I do need to go home soon,’ the prosecutor warns.

Joona looks at him with an ice-grey glint in his pale eyes. There’s a hint of a smile playing at the corners of his eyes, a smile that does nothing to detract from the seriousness of his look.

‘Penelope Fernandez,’ he begins. ‘She had been sitting on deck just before, smoking a joint. It was a warm day and she felt tired, so went down to rest on her bed for a while, and fell asleep wearing her denim jacket.’

He gestures towards The Needle’s young assistant, who is waiting in the doorway.

‘Frippe has agreed to help with the reconstruction.’

Frippe smiles and takes a step forward. His dyed black hair is hanging in clumps down his back, and his worn leather trousers are studded with rivets. He carefully fastens his leather jacket over his black T-shirt with a picture of the pop-group Europe on it.

‘Look,’ Joona says quietly, and demonstrates how with one hand he can take a firm grip of both sleeves of the jacket to lock Frippe’s arms behind his back, allowing him to grab hold of his long hair with the other hand.

‘I’ve got complete control of Frippe now, and there won’t be a single bruise on him.’

Joona raises the young man’s arms behind his back. Frippe whimpers and leans forward.

‘Take it easy,’ he laughs.

‘Obviously, you’re much bigger than the victim, but I still think I could push your head down in the wash-tub.’

‘Be careful with him,’ The Needle says.

‘I’m only going to spoil his hair.’

‘Forget it,’ Frippe says with a smile.

It’s a silent tussle. The Needle looks worried, Svanehjälm uncomfortable. Petter swears. Without any great difficulty Joona manages to push Frippe’s head down into the water and hold him there for a few moments before letting go and backing away. Frippe wobbles as he straightens up and Nils hurries forward with a towel.

‘You could have just described it, surely?’ he says irritably.

Once Frippe has finished drying himself they go silently into the next room, where the cool air is heavy with the stench of decay. One wall is covered with three layers of stainless steel fridge doors. Nils opens compartment 16 and pulls out the tray. The young woman is lying on the narrow bunk, naked and drained of colour, with brown, spidery veins around her neck. Joona points at the thin, curved line over her chest.

‘Take your clothes off,’ he says to Frippe.

Frippe unbuttons his jacket and pulls off his black T-shirt. Across his chest is a faint pink mark made by the edge of the wash-tub, a curved line, like a smiling mouth.

‘Bloody hell,’ Petter says.

The Needle goes over and inspects the roots of the dead woman’s hair. He takes out a small torch and points it at the pale skin under her hair.

‘I don’t need a microscope for this. Someone’s held her very tightly by her hair.’

He turns the torch off and puts it back in the pocket of his white coat.

‘In other words …’ Joona says.

‘In other words, you’re right, of course,’ The Needle says, and claps his hands.

‘Murder,’ Svanehjälm sighs.

‘Impressive,’ Frippe says, wiping some eye-liner that has smeared across one cheek.

‘Thanks,’ Joona says distantly.

Nils looks at him quizzically:

‘What is it, Joona? What have you seen?’

‘It’s not her,’ he says.

‘What?’

Joona meets Nils’s gaze, then points at the body in front of them.

‘This isn’t Penelope Fernandez. It’s someone else,’ he says, and looks at the prosecutor. ‘The dead woman isn’t Penelope. I’ve seen her driver’s licence, and I’m certain this isn’t her.’

‘But what …’

‘Maybe Penelope Fernandez is dead too,’ he says. ‘But if she is, we haven’t found her yet.’

14
A late-night party

Penelope’s heart is still beating horribly fast – she’s trying to breathe quietly, but the air shudders in her throat. She slides down the rough rocks, pulling the damp moss down with her, and ends up under cover of the branches of the fir tree. She’s so terrified that she’s shaking. She creeps closer to the trunk where the night’s darkness is at its most dense. She hears herself start to whimper when she thinks of Viola. Björn is sitting motionless in the darkness under the branches with his arms wrapped tightly around him, muttering to himself over and over again.

They’ve been running in panic, not looking back, have stumbled and fallen and got back up, they’ve clambered over fallen trees, scraping their legs, knees and hands, but they’ve kept rushing on.

Penelope no longer has any sense of how close their pursuer is, if he’s already caught sight of them again or if he’s given up and decided to wait.

They’ve been running, but Penelope has no idea why. She can’t understand why they’re being hunted.

Maybe it’s all a mistake, she thinks. A terrible mistake.

Her racing pulse starts to slow down.

She feels sick, and almost throws up, but swallows hard instead.

‘Oh, God, oh, God,’ she keeps whispering to herself. ‘This is impossible, we have to get help, someone ought to find the boat soon and start looking for us …’

‘Shhh,’ Björn hisses with fear in his eyes.

Her hands are shaking. A series of rapid-fire images plays in her mind. She tries to blink them away, tries to look at her white trainers, at the brown fir needles on the ground, at Björn’s dirty, bloody knees, but the images keep forcing their way through: Viola is dead, sitting on the bed with her eyes wide open, the look in them unreadable, her face blotchy and white and wet, her hair lank and dripping.

Somehow Penelope had understood that the man standing on the shore beckoning Björn to swim back to land was the person who had killed her sister. She could feel it. She put the few pieces she had together and interpreted the image in an instant. If she hadn’t they would all be dead.

Penelope had screamed at Björn. They were losing time, it was going too slowly, and she hurt him with the end of the boathook before she managed to get him on board.

The black inflatable boat had appeared round the end of Kastskär and picked up speed on the flat, open water.

She had steered straight for an old wooden jetty, then hit reverse and switched the engine off as the hull hit a post. They’d slid sideways with a great creaking sound, then just fled from the boat in panic. They didn’t take anything, not even a phone. Penelope slipped on the rocks and had to cling on with her hands, then turned and saw the man in black quickly tying the inflatable to the jetty.

Penelope and Björn ran into the forest, rushing along side by side, swerving round trees and dark rocks. Björn groaned when his bare feet trod on sharp twigs.

Penelope pulled him along after her, their pursuer wasn’t far behind.

They had no thoughts, no plan, they were just rushing in panic, deep into dense ferns and blueberry bushes.

Penelope heard herself sob as she ran, sobbing in a voice she had never heard herself use before.

A thick branch caught her sharply in the thigh and she had to stop. Her breathing was ragged as she pushed the branch away with trembling hands. Björn was running towards her. Her thigh muscle was throbbing painfully. She started running again, then speeded up. She could hear Björn behind her as she ran deeper and deeper into the dense forest without looking back.

Something happens to your mind when you’re seized by panic. Because the panic isn’t constant – every so often it shatters and is replaced by purely rational reasoning. It’s like switching a horrible noise off and finding yourself surrounded by silence and a sudden overview of the situation. Then the fear comes back again, your thoughts go back to being one-track, chasing round in circles, and all you want to do is run, get away from whoever is chasing you.

Penelope thought plenty of times that they needed to find other people, there must be hundreds of them on Ornö that evening. They needed to find the inhabited parts of the island, further south, they had to get help, get hold of a phone and call the police.

They hid under cover of some fir trees, but after a while the fear became unbearable and they raced on.

As she was running Penelope could feel his presence again, thought she could hear his long, quick steps. She knew he hadn’t stopped running. He’d catch up with them if they didn’t get help soon, if they didn’t reach the inhabited part of the island.

The ground was rising again, stones came loose beneath their feet and rolled down the slope.

They had to find some people, there must be some houses somewhere near. A wave of hysteria ran through her, a desire to just stand still and scream, call for help, but she forced herself to keep going, to keep climbing.

Björn coughed behind her, gasped for breath and then coughed again.

What if Viola wasn’t dead, what if she just needed help? Fear chased through her head. On some level Penelope was aware that she was thinking things like that because the reality was so much worse. She knew Viola was dead, but it was incomprehensible, just a big, black void. She didn’t want to understand, couldn’t understand, didn’t even want to try.

They scrambled up another steep cliff, past pines with scratchy branches, rocks and lingonberry bushes. Using her hands to support her, she made it to the top. Björn was right behind her, he tried to say something but was too out of breath, he just pulled her on – and down again – with him. On the other side of the ridge the forest sloped down towards the western shore of the island. Between the dark trees they could see the pale surface of the water. It wasn’t far away. They carried on down the slope. Penelope slipped and slid part of the way, hitting the ground hard. She hit her mouth on her knees, got her breath back and started to cough.

She tried to get to her feet, wondering if she’d broken something, then suddenly she heard music, followed by loud voices and laughter. Leaning against the damp rock-face, she stood up, wiped her lips and looked at her bleeding hand.

Björn appeared beside her and pulled her along, pointing to where they should go: there was a party somewhere up ahead of them. Taking each other’s hands they started to run. Between the dark trees they could see coloured garlands of lights wound through a wooden veranda overlooking the water.

They walked on warily.

There was a group of people sitting around a table in front of a beautiful rust-red summerhouse. Penelope realised it must be the middle of the night, but the sky was still bright. The meal was long since over, the table was strewn with glasses and coffee cups, napkins and empty bowls of crisps.

Some of the people at the table were singing, others were talking and topping up glasses from wine-boxes. The barbecue was still radiating heat. There were probably children asleep inside the house. To Björn and Penelope, they all looked like they were from a completely different world. Their faces were bright and calm. The obvious friendship between them sealed them off like a glass dome.

Only one person was outside the circle. He was standing off to one side with his face towards the forest, as if expecting visitors. Penelope stopped abruptly and clutched Björn’s hand. They sank to the ground and crept behind a low fir tree. Björn looked frightened, uncomprehending. But she was sure of what she had seen. Their pursuer had figured out which way they were heading and had got to the house ahead of them. He had realised how irresistible the lights and sounds of the party would be to them. So he waited, watching for them among the dark trees, keen to head them off at the edge of the forest. He wasn’t worried that the people at the party would hear their screams; he knew they wouldn’t dare to enter the forest until it was too late.

When Penelope eventually risked a look up again he was gone. She was trembling from the adrenalin coursing through her blood. Maybe their pursuer thought he’d made a mistake, she wondered, looking around.

Perhaps he’d run off in a different direction.

She was just starting to think that their flight might finally be over, that she and Björn could go down to the party and alert the police, when she suddenly caught sight of him again.

He was standing beside a tree-trunk, not far away at all.

With measured movements their pursuer raised a pair of binoculars with pale green lenses.

Penelope huddled down next to Björn, trying to fight the urge to flee, to just run and run. She could see the man through the trees, raising the binoculars to his eyes, and realised that they probably had night vision, or heat-seeking sights.

Penelope took Björn by the hand and, crouching low, pulled him away from the house with her, away from the music, backwards into the forest. After a while she dared to straighten up. They started to run across a scree-slope formed by the kilometre-thick glaciers that once covered northern Europe. They carried on through thorny bushes, behind a large rock and across a sharp ridge. Björn grabbed hold of a thick branch and slowly started to slide down the other side. Penelope’s heart was thudding hard in her chest, her thigh muscles were aching, and she was trying to breathe quietly, even though she was far too breathless. She slipped down the rough rocks, pulling damp moss and loose stones down with her until she reached the ground under the dense canopy of fir branches. Björn was wearing nothing but his knee-length board-shorts, his face was pale and his lips almost white.

15
Identification

It sounds like someone is repeatedly throwing a ball at the wall below senior pathologist Nils Åhlén’s window. He and Joona Linna are waiting for Claudia Fernandez in silence. She’s been asked to come to the Department of Forensic Medicine early this Sunday morning to help identify the dead woman.

When Joona called her to say that they feared her daughter Viola had died, Claudia’s voice had sounded strangely calm.

‘No, Viola’s out in the archipelago with her sister,’ she had said.

‘On Björn Almskog’s boat?’ Joona asked.

‘Yes, I was the one who suggested she call Penelope and ask if she could go with them, I thought it would do her good to get away for a bit.’

‘Was anyone else going with them?’

‘Well, Björn, obviously.’

Joona fell silent, and several seconds passed as he tried to shift the weight that had settled inside him. Then he cleared his throat and said very gently:

‘Claudia, I’d like you to come to the Department of Forensic Medicine in Solna.’

‘What for?’ she asked.

Now Joona is sitting in an uncomfortable chair in the senior pathologist’s room. The Needle has slipped a small picture of Frippe into the bottom of his framed wedding photograph. They can hear the sound of the ball thudding against the wall, a hollow, lonely sound. Joona thinks back to how Claudia’s breathing changed when she finally realised that it might actually be her daughter that they’d found dead. Joona had carefully explained the circumstances to her: that a woman they feared was her younger daughter had been found dead on an abandoned motor cruiser in the Stockholm archipelago.

He booked a taxi to collect Claudia Fernandez from her terraced house in Gustavsberg. She should be with them within the next few minutes.

The Needle makes a half-hearted attempt at small-talk, but gives up after a while when he realises Joona isn’t going to respond.

They both just want this to be over. A positive identification is always a traumatic moment: any lacerating relief afforded by the end of uncertainty is mixed with the absolute agony of all hope being lost.

They can hear footsteps in the corridor. They both get to their feet at the same time.

Seeing the dead body of a family member is a merciless confirmation of all our worst fears. But at the same time it’s an important, necessary part of the grieving process. Joona has read plenty of claims that identification also constitutes a form of liberation. There’s no longer any opportunity for wild fantasies that the loved one is actually still alive, fantasies which can only bring emptiness and frustration.

Joona can’t help thinking that’s just hollow nonsense. Death is never anything but terrible, and never gives anything back.

Claudia Fernandez is standing in the doorway, a frightened-looking woman in her sixties. Her face bears traces of tears and anxiety, and her body looks frozen and hunched.

Joona gently introduces himself:

‘Hello, my name is Joona Linna. I’m a detective superintendent – it was me you spoke to on the phone.’

The Needle introduces himself very quietly as he shakes hands with the woman, then immediately turns his back on her and pretends to sort through some files. He appears very brusque and dismissive, but Joona knows that he’s really very upset.

‘I’ve tried calling them, but I can’t get hold of either of my girls,’ Claudia whispers. ‘They ought …’

‘Shall we go?’ Nils interrupts, as if he hasn’t heard her.

They move silently through the familiar corridors. With each step Joona can’t help thinking that the air is getting thinner. Claudia Fernandez is in no hurry to get to what lies ahead. She walks slowly, several metres behind Nils, whose tall, sharply defined figure hurries off ahead of them. Joona Linna turns and tries to smile at Claudia. But he has to steel himself against the look in her eyes: panic, pleading, prayer, desperate attempts to do a deal with God.

It feels like they’re dragging her into the cold room where the bodies are kept.

Nils mutters something, sounding almost angry, then he bends over, unlocks one of the stainless steel doors and pulls out the drawer.

The young woman comes into view. Her body is covered with a white sheet. Her eyes are dull, half-closed, her cheeks sunken.

Her hair lies like a black wreath around her beautiful head.

A small, pale hand is visible beside her hip.

Claudia Fernandez is breathing fast. She reaches out and cautiously touches the hand, then lets out a whimpering moan. It comes from deep within her, as if she is breaking apart at that moment, her soul shattering.

Claudia’s body starts to shake and she sinks to her knees, pressing her daughter’s lifeless hand to her lips.

‘No, no,’ she sobs. ‘Oh God, dear God, not Viola. Not Viola …’

Joona is standing a few steps behind Claudia, sees her back shake with weeping, hears her voice, as her desperate sobbing gets gradually louder, then slowly dies away.

She wipes the tears from her face, but is still breathing fitfully as she gets up from the floor.

‘Can you confirm that this is her?’ The Needle says curtly. ‘Is this Viola Fernandez, your …’

His voice tails off and he clears his throat quickly and angrily.

Claudia shakes her head and gently strokes her daughter’s cheek with her fingertips.

‘Viola, Violita …’

Very shakily, she pulls her hand back, and Joona says gently:

‘I’m so very, very sorry.’

Claudia almost falls, but reaches out to the wall for support, turns away and whispers to herself:

‘We’re going to the circus on Saturday, it’s a surprise for Viola …’

They look at the dead woman, her pale lips, the veins on her neck.

‘I’ve forgotten your name,’ Claudia says helplessly, looking at Joona.

‘Joona Linna,’ he says.

‘Joona Linna,’ the woman repeats in a thick voice. ‘I’ll tell you about Viola. She’s my little girl, my youngest, my happy little …’

Claudia glances over at Viola’s white face and sways sideways. The Needle pulls up a chair, but she just shakes her head.

‘Sorry,’ she says. ‘It’s just that … my elder daughter, Penelope, she went through so many terrible things in El Salvador. When I think about what they did to me in that prison, when I remember how frightened Penelope was, she cried and called out for me … hour after hour, but I couldn’t go to her, I couldn’t protect her …’

Claudia looks Joona in the eye and takes a step towards him, and he gently puts his arm round her. She leans heavily against his chest, catches her breath, then pulls away and fumbles for the back of the chair without looking at her dead daughter, and sits down.

‘My proudest achievement … was making sure that little Viola was born here in Sweden. She had a lovely room, with a pink lampshade, and lots of toys and dolls, she went to school, watched Pippi Longstocking … I don’t suppose you can understand, but I was so proud that she never had to be hungry or afraid. Not like us … like Penelope and me, who still wake up in the middle of the night, ready for someone to break in and do terrible things …’

She falls silent, then whispers:

‘Viola has known nothing but happiness and …’

Claudia leans forward and hides her face in her hands, and weeps softly. Joona very gently puts his hand on her back.

‘I’ll go now,’ she says, still crying.

‘There’s no hurry.’

She calms down, but then her face contorts into another fit of tears.

‘Have you spoken to Penelope?’ she asks.

‘We haven’t been able to get hold of her,’ Joona says quietly.

‘Tell her I want her to call me, because …’

She stops herself, the colour drains from her face again and then she looks up.

‘I just thought maybe she wasn’t answering because she saw it was me calling, because I … I was … I said a horrible thing, but I didn’t mean it, I didn’t mean …’

‘We’ve started to look for Penelope and Björn Almskog with a helicopter, but …’

‘Please, tell me she’s alive,’ she whispers to Joona. ‘Tell me that much, Joona Linna.’

Joona’s jaw muscles tense as he strokes Claudia’s back, then he says:

‘I’m going to do everything I can to …’

‘She’s alive. Say it!’ Claudia interrupts. ‘She has to be alive.’

‘I’m going to find her,’ Joona says. ‘I know I’m going to find her.’

‘Say that Penelope’s alive.’

Joona hesitates, then meets Claudia’s clouded gaze, and different thoughts flash through his head, linked in fleeting combinations, and suddenly he hears himself say:

‘She’s alive.’

‘Yes,’ Claudia whispers.

Joona lowers his eyes; he can no longer grasp the thoughts that passed through his consciousness just moments before, which made him change his mind and tell Claudia that her eldest daughter is alive.

16
The mistake

Joona goes with Claudia Fernandez to the waiting taxi, helps her in, and then waits by the turning circle until the car is out of sight before he starts to search his pockets for his phone. When he realises he must have put it down somewhere, he hurries back inside the Department of Forensic Medicine, walks straight into Nils Åhlén’s office, picks up The Needle’s phone as he sits down behind the desk, dials Erixon’s number and waits as the call goes through.

‘Let people sleep,’ Erixon says when he answers. ‘It’s actually Sunday today.’

‘Admit that you’re on the boat.’

‘I’m on the boat,’ Erixon admits.

‘So there weren’t any explosives?’ Joona says.

‘Not in the usual sense – but you were still right. It could have exploded at any moment.’

‘What do you mean?’

‘The insulation on the cables is seriously damaged in one place, looks like they’ve been pinched … the metal’s not touching, because that would trip the circuit, but it’s uncovered … and when you start it up you can easily get an electrical surge … and arcing.’

‘What happens then?’

‘This arcing has a temperature of over three thousand degrees, and they could easily set light to an old cushion someone has squeezed in there,’ Erixon goes on. ‘And then the fire would find its way along the tube from the fuel tank and …’

‘Fast, then?’

‘Well … the arcing might take ten minutes or so, maybe more … but after that it’s fairly quick – fire, more fire, explosion – the boat would fill with water almost instantly and sink.’

‘So there would have been a fire and an explosion if the engine had been left running?’

‘Yes, but it hasn’t necessarily been done on purpose,’ Erixon says.

‘So the cables could have been damaged by accident? And the cushion just ended up there?’

‘Absolutely,’ he replies.

‘But you don’t believe that?’ Joona asks.

‘No.’

Joona thinks about the fact that the boat was found drifting in Jungfrufjärden, then clears his throat and says thoughtfully:

‘If the murderer did this …’

‘Then he’s no ordinary killer,’ Erixon concludes.

Joona repeats the thought to himself, telling himself that they’re not dealing with an ordinary murderer. Run-of-the-mill killers tend to react emotionally, even if they’ve planned the murder. There are always a lot of heightened emotions at play, and murders often have an element of hysteria about them. The plan usually emerges afterwards, in an effort to conceal the act and construct an alibi. But on this occasion the perpetrator appears to have followed a very specific strategy from the outset.

Even so, something still went wrong.

Joona stares into space for a while, then writes Viola Fernandez’s name on the top page of The Needle’s notepad. He circles it, then adds Penelope Fernandez and Björn Almskog’s names underneath. The two women are sisters. Penelope and Björn are in a settled relationship. Björn owns the boat. Viola asked if she could go with them at the last minute.

Identifying the motive behind a murder is a long and winding road. Joona is aware that he only recently thought that Penelope Fernandez was alive. It hadn’t just been a hope or an attempt to give comfort. It had been an intuition, but no more than that. He had caught the thought mid-flight, but lost his grip on it almost immediately.

If he were to follow the National Homicide Commission’s template, his suspicions ought to be directed at Viola’s boyfriend, and possibly Penelope and Björn seeing as they were on the boat. Alcohol and other drugs may have been involved. Perhaps there was a disagreement, a serious jealousy drama. Leif G. W. Persson would soon be giving his opinion on television, saying that the perpetrator was someone close to Viola, probably a boyfriend or former boyfriend.

Joona considers the intention behind making the fuel tank explode and tries to understand the logic behind the plan. Viola was drowned in the zinc wash-tub on the aft-deck and the perpetrator carried her down to the cabin and left her on the bunk.

Joona knows he’s trying to think too many thoughts at the same time. He needs to stop himself and start to structure what he actually knows, and the questions that still need to be answered.

He draws another circle round Viola’s name and starts again.

What he knows is that Viola Fernandez was drowned in a wash-tub and then placed on the bed in the front cabin, and that Penelope Fernandez and Björn Almskog haven’t yet been found.

But that’s not all, he tells himself, and turns to a new page.

Details.

He writes the word ‘calm’ on the pad.

There was no wind, and the boat was found drifting near Storskär.

The front of the boat is damaged, from a fairly forceful collision. Forensics have presumably managed to secure evidence and taken imprints by now.

Joona throws Nils’s notepad hard at the wall and closes his eyes.

‘Perkele,’ he whispers.

Something has slipped out of his grasp again, he had it, he knows he almost made a crucial observation. He was on the brink of making a breakthrough, but then he just lost it again.

Viola, Joona thinks. You died on the aft-deck of the boat. So why were you moved after you died? Who moved you? The murderer, or someone else?

If you find her apparently lifeless on deck, you probably try to resuscitate her, you call SOS Alarm, that’s what you do. And if you realise that she’s dead, that it’s already too late, that you can’t bring her back, maybe you don’t just want to leave her lying there, you want to take her inside, cover her with a sheet. But a dead body is heavy and awkward to move, even if there are two of you. But it wouldn’t have been too difficult to move her into the saloon. It’s only five metres, through a pair of wide glass doors and down just one step.

That’s perfectly possible, even without any specific intention.

But you don’t drag her down a steep set of steps, through a narrow passageway, to put her on the bed in the cabin.

You only do that if you intend her to be found drowned in her room on the submerged boat.

‘Exactly,’ he mutters, and stands up.

He looks out of the window, spots an almost blue beetle crawling along the white sill, then looks up and sees a woman riding a bicycle disappear between the trees, and suddenly he realises what the missing component is.

Joona sits down again and drums his fingers on the desk.

It wasn’t Penelope who was found dead on the boat, it was her sister Viola. But Viola wasn’t found on her own bed, in her own cabin on the boat, but in the front cabin, on Penelope’s bed.

The murderer could have made the same mistake as me, Joona thinks, and a shiver runs down his spine.

He thought he had killed Penelope Fernandez.

That’s why he put her on the bed in the front cabin.

That’s the only explanation.

And that explanation means that Penelope Fernandez and Björn Almskog aren’t responsible for Viola’s death, because they wouldn’t have placed her on the wrong bed.

Joona starts when the door flies open. The Needle shoves it open with his back, then comes in backwards carrying a large, oblong box covered with red flames and the words ‘Guitar Hero’ on the front.

‘Frippe and I are going to start …’

‘Quiet,’ Joona snaps.

‘What’s happened?’ Nils asks.

‘Nothing, I just need to think,’ he replies quickly.

Joona gets up from the chair and walks out of the room without another word. He walks through the foyer without hearing what the twinkly-eyed woman at reception says to him. He just carries on, out into the early sunshine, and stops on the grass by the car park.

A fourth person who isn’t well-acquainted with the two women killed Viola, Joona thinks. He killed Viola, but thought he had killed Penelope. That means that Penelope was still alive when Viola was killed, because otherwise he wouldn’t have made that mistake.

Maybe she is still alive, Joona thinks. It’s possible that she’s lying dead somewhere out in the archipelago, on some island or deep underwater. But there’s still every reason to hope that she’s still alive, and if she is alive, then she’ll be found before too much longer.

Joona strides off purposefully towards his car without actually knowing where he’s going. His phone is on the roof of the car. He realises he must have left it there when he locked the car. When he picks it up to call Anja Larsson it’s very hot. No answer. He opens the door, gets in, puts on his seat belt, then sits there and tries to find a flaw in his reasoning.

The air is stuffy, but the heavy scent of the lilac bushes by the car park eventually succeeds in driving the yeasty smell of the body in the mortuary from his nostrils.

His phone rings in his hand, and he looks at the screen before answering.

‘I’ve just been talking to your doctor,’ Anja says.

‘Why were you talking to him?’ Joona asks in surprise.

‘Janush says you never show up,’ she chides.

‘I haven’t had time.’

‘But you’re taking the medication?’

‘It’s disgusting,’ Joona jokes.

‘Seriously, though … he called because he’s worried about you,’ she says.

‘I’ll talk to him.’

‘When you’ve solved this case, you mean?’

‘Have you got a pen and paper handy?’ Joona asks.

‘Don’t worry about me.’

‘The woman who was found on the boat isn’t Penelope Fernandez.’

‘No, it was Viola. I know,’ she says. ‘Petter told me.’

‘Good.’

‘You were wrong, Joona.’

‘Yes, I know …’

‘Say it,’ she jokes.

‘I’m always wrong,’ he says quietly.

Neither of them speaks for a moment.

‘So we’re not allowed to joke about that?’ she asks tentatively.

‘Have you managed to find out anything the boat and Viola Fernandez?’

‘Viola and Penelope are sisters,’ she says. ‘Penelope and Björn have been in a relationship, or whatever you want to call it, for the past four years.’

‘Yes, that’s pretty much what I thought.’

‘Right. Do you want me to go on, or is it all unnecessary?’

Joona doesn’t answer, just leans his head back and notices that the windscreen is covered with pollen from a nearby tree.

‘Viola wasn’t supposed to be going out on the boat with them,’ Anja goes on. ‘She’d had a row with her boyfriend, Sergey Jarushenko, that morning, and had phoned her mother in tears. It was her mother’s idea that she should ask Penelope if she could go with them.’

‘What do you know about Penelope?’

‘I’ve actually been prioritising the victim, Viola Fernandez, seeing as …’

‘But the murderer thought he’d killed Penelope.’

‘Hang on, what did you just say, Joona?’

‘He made a mistake, he was planning to cover the murder up, make it look like an accident, but he put Viola on her sister’s bed.’

‘Because he thought Viola was Penelope.’

‘I need to know everything about Penelope Fernandez and her …’

‘She’s one of my biggest idols,’ Anja says, cutting him off. ‘She’s a peace campaigner, and she lives at Sankt Paulsgatan 3.’

‘We’ve sent out an alert for her and Björn Almskog on the intranet,’ Joona says. ‘And the coastguard have got two helicopters searching the area around Dalarö, but they need to organise a proper search of the island with the marine police.’

‘I’ll find out what’s going on,’ she says.

‘And someone needs to talk to Viola’s boyfriend, and Bill Persson, the fisherman who found her on the boat. We need a comprehensive forensics report on the boat, and we need to speed up the results from the National Forensics Lab.’

‘Do you want me to call Linköping?’

‘I’ll talk to Erixon, he knows them. I’ll be seeing him shortly to take a look at Penelope’s apartment.’

‘Sounds like you’re in charge of the preliminary investigation. Are you?’

17
A very dangerous man

The summer sky is still clear, but the air is getting more and more close, as if a storm were brewing.

Joona Linna and Erixon park outside the old fishermen’s store, which always has pictures of the people who have caught the largest salmon in the centre of Stockholm each week.

Joona’s phone rings and he sees that it’s Claudia Fernandez. He walks over to the thin strip of shadow by the wall before answering.

‘You said I could call you,’ she says in a weak voice.

‘Of course.’

‘I realise that you probably say the same thing to everyone, but I was thinking … my daughter, Penelope. I mean … I need to know if you find anything, even if …’

Claudia’s voice fades away.

‘Hello? Claudia?’

‘Yes, sorry,’ she whispers.

‘I’m a detective … I’m trying to find out if there’s criminal activity behind these events. The coastguards are the people looking for Penelope,’ Joona explains.

‘When are they going to find her?’

‘They usually start by searching the area with helicopters … and at the same time they organise a ground-search of any islands, but that takes longer … so they start with helicopters.’

Joona can hear that Claudia is trying to muffle her crying.

‘I don’t know what to do, I … I need to know if there’s anything I can do, if I ought to carry on talking to her friends.’

‘The best thing would be if you could stay at home,’ Joona says. ‘Because Penelope might try to contact you, and then …’

‘She won’t call me,’ she interrupts.

‘I think she …’

‘I’ve always been too hard on Penelope, I get angry with her, I don’t know why, I … I don’t want to lose her, I can’t lose Penelope, I …’

Claudia cries down the phone, tries to stop herself, quickly apologises and ends the call.

Opposite the fishing tackle shop is Sankt Paulsgatan 3, where Penelope Fernandez lives. Joona walks across to Erixon, who is waiting for him in front of a store window full of Japanese writing and manga pictures. The shelves are full of Hello Kitty, cat dolls with big, innocent faces. The entire shop is a surprising, garish contrast to the dirty brown façade of the building.

‘Small body, big head,’ Erixon says, pointing at one of the Hello Kitty dolls when Joona reaches him.

‘Quite cute,’ Joona mumbles.

‘I got that the wrong way round, I’m stuck with a big body and a small head,’ Erixon jokes.

Joona smiles as he gives him a sideways glance and opens the wide door for him. They walk up the steps and look at the list of names, the illuminated light-switches, the hatches to the garbage chute. The stairwell smells of sun and dust and detergent. Erixon grabs hold of the handrail, worn smooth with use, and it creaks as he heaves himself up behind Joona. They look at each other when they reach the third floor. Erixon’s face is quivering from the exertion, and he nods and wipes the sweat from his brow as he whispers apologetically to Joona:

‘Sorry.’

‘It’s very close today,’ Joona says.

There are several stickers by the doorbell: a peace symbol, the Fairtrade logo, and anti-nuclear power. Joona glances at Erixon, and his grey eyes narrow when he puts his ear to the door and listens.

‘What is it?’ Erixon whispers.

Still listening, Joona rings the doorbell. He waits a few moments, then pulls a small case from his inside pocket.

‘Probably nothing,’ he says, and carefully picks the uncomplicated lock.

Joona opens the door, then seems to change his mind and closes it again. He gestures to Erixon to remain where he is, without really knowing why. They hear the melody of an ice-cream van outside. Erixon looks worried, and rubs his chin. A shiver runs through Joona’s arms, but he still opens the door calmly and walks in. There are newspapers, adverts and a letter from the Left Party on the hall mat. The air is still, stale. A velvet curtain has been pulled across the closet. The pipes in the walls gush and then tick rapidly.

Joona doesn’t know why, but his hand moves to his holstered pistol. He nudges it with his fingertips beneath his jacket, but doesn’t draw it. He looks at the blood-red curtain, then the kitchen door. He is breathing quietly, trying to see through the textured pane of glass and the glass door to the living room.

Joona takes a step forward, but really he just wants to get out of the flat: a strong instinct is telling him to call for backup. Something goes dark behind the textured glass. A wind-chime with dangling brass weights is swaying, but without making any noise. Joona sees the motes of dust in the air change direction, following a new air-current.

He’s not alone in Penelope’s flat.

Joona’s heart starts to beat faster. Someone is moving through the rooms. He can sense it, and turns to look at the kitchen door, and then everything happens very fast. The wooden floor creaks. He hears a rhythmic sound, like little clicks. The door to the kitchen is half open. Joona catches sight of movement in the crack between the hinges. He presses himself against the wall, as if in a railway tunnel. Someone moves quickly through the darkness of the long hallway. Just their back, a shoulder, an arm.

The figure approaches rapidly, then spins round. Joona catches just a glimpse of the knife, like a white tongue. It shoots up like a projectile, from below. The angle is so unexpected that he doesn’t have time to parry the blow. The sharp blade cuts through his clothes and its tip hits his pistol. Joona strikes out at the figure, but misses. He hears the knife slash the air a second time and throws himself back. This time the blade comes from above. Joona hits his head on the bathroom door. He sees a long splinter of wood peel off as the knife cuts into the doorframe. Joona falls to the floor, rolls over, kicks out low, in an arc, and hits something, possibly one of his attacker’s ankles. He rolls away, draws his pistol and removes the safety catch in the same fluid movement. The front door is open and he hears rapid footsteps going down the stairs. Joona gets to his feet, is about to set off after the man when he hears a rumbling sound behind him. He understands instantly what the noise is and rushes into the kitchen. The microwave oven has been switched on. It’s crackling, and black sparks are visible through the glass door. The valves of the four burners on top of the old gas stove have been left open, and gas is streaming into the room.

With a feeling that time has become incredibly sluggish, Joona throws himself at the microwave. The timer is clicking anxiously. The crackling noise is getting louder. A can of insect spray is revolving on the glass plate inside. Joona pulls the plug from the wall and the noise stops. The only sound is the monotonous hiss of the open gas burners on the stove. Joona shuts the valves off. The chemical smell makes his stomach heave. He opens the kitchen window and then looks at the aerosol in the microwave. It’s badly swollen, and could still explode at the slightest touch.

Joona leaves the kitchen and quickly searches the rest of the flat. The rooms are empty, untouched. The air is still thick with gas. On the landing outside the door Erixon is lying on the floor with a cigarette in his mouth.

‘Don’t light it,’ Joona shouts.

Erixon smiles and waves his hand wearily.

‘Chocolate cigarettes,’ he whispers.

Erixon coughs weakly and Joona suddenly sees the pool of blood beneath him.

‘You’re bleeding.’

‘Nothing too serious,’ he says. ‘I don’t know how he did it, but he cut my Achilles’ tendon.’

Joona calls for an ambulance, then sits down beside him. Erixon is pale and his cheeks are wet with sweat. He looks distinctly unwell.

‘He cut me without even stopping, it was … it was like being attacked by a bloody spider.’

They fall silent and Joona thinks about the lightning-fast movements behind the door, and the way the knife moved with a speed and a purposefulness that was unlike anything he’s ever experienced before.

‘Is she in there?’ Erixon pants.

‘No.’

Erixon smiles with relief, then turns serious.

‘But he was still planning to blow the place up?’ he asks.

‘Presumably to get rid of evidence, or some sort of connection,’ Joona says.

Erixon tries to peel the paper from the chocolate cigarette but drops it and closes his eyes. His cheeks are greyish white now.

‘I guess you didn’t see his face either,’ Joona says.

‘No,’ Erixon says weakly.

‘But we saw something, people always see something …’

18
The fire

The paramedics reassure Erixon repeatedly that they’re not going to drop him.

‘I can walk,’ Erixon says, as he shuts his eyes.

His chin trembles with every step they take.

Joona returns to Penelope Fernandez’s flat. He opens all the windows, airing out the gas, and sits down on the comfortable, apricot-coloured sofa.

If the apartment had exploded, it would probably have been written off as an accident caused by a gas leak.

Joona reminds himself that no fragments of memory ever disappear, nothing you ever see is lost, it’s all a matter of letting the memory drift up from the depths like flotsam.

So what did I see, then?

He didn’t see anything, just rapid movements and a white knife-blade.

That was what I saw, Joona suddenly thinks. Nothing.

He tells himself that the very absence of observations supports the idea that they’re not dealing with any ordinary murderer.

They could be dealing with a professional killer, a problem solver, a fixer.

He had already had his suspicions, but after his encounter he is convinced.

He’s sure that the person he met in the hallway is the same person who murdered Viola. His intention had been to kill Penelope, sink the motor cruiser and make the whole thing look like an accident. It was the same pattern here, before he was disturbed. He wants to remain invisible, he wants to get on with his business but hide it from the police.

Joona looks around slowly, trying to gather his observations into a coherent whole.

It sounds like some children are rolling balls across the floor in the flat upstairs. They would be trapped in an inferno of fire if Joona hadn’t pulled the plug from the microwave in time.

He’s never been subjected to such a deliberate and dangerous attack before. He’s convinced that the person who was inside the home of peace campaigner Penelope Fernandez isn’t some hate-filled enemy from the extreme right. Those groups may be guilty of carefully planned acts of violence, but this individual is a trained professional in a league far above the extreme right-wing groups in Sweden.

So what were you doing here? Joona asks himself. What is a fixer doing with Penelope Fernandez, what has she got caught up in? What’s going on under the surface?

He thinks about the man’s unpredictable movements, the knife-technique that was designed to get past any standard defensive manoeuvres, including those taught by the police and military.

He feels a shiver run through him when he realises that the first blow would have hit his liver if his pistol hadn’t been hanging below his right arm, and the second would have hit his head if he hadn’t thrown himself backward.

Joona gets up from the sofa and goes into the bedroom. He looks at the neatly made bed and the crucifix hanging above it.

A fixer thought he had murdered Penelope, and his intention was to make it look like an accident …

But the boat didn’t sink.

Either the murderer was interrupted, or he left the scene of the crime intending to return later and finish the job. But he certainly couldn’t have intended the boat to have been found drifting by the marine police with a drowned girl on board. Something went wrong along the way, or else his plans changed suddenly. Perhaps he received new orders, but a day and half after Viola’s murder he was in Penelope’s apartment.

You must have had very strong reasons for visiting her flat. What would motivate you to take a risk like that? Was there something in the flat that connects you or your employer to Penelope?

You did something here, removed fingerprints, erased a hard disk, erased a message on an answer-machine, or collected something, Joona thinks.

That was what you were planning, anyway, but perhaps you got interrupted when I arrived.

Perhaps you were planning to use the fire to get rid of the evidence?

It’s a possibility.

Joona thinks that he could have done with Erixon right now. He can’t conduct a crime scene investigation without a forensics expert, he doesn’t have the right equipment. And he could ruin evidence if he were to search the flat on his own, possibly contaminate DNA and miss invisible clues.

Joona goes over to the window and looks down at the street, and the empty tables outside a café.

He realises he’s going to have to go to Police Headquarters and talk to his boss, Carlos Eliasson, and ask to be put in charge of the preliminary investigation: that’s the only way to get access to another forensics expert, the only way to get any help while Erixon is off work injured.

Joona’s phone rings just as he makes up his mind to follow the correct procedures and go and talk to Carlos and Jens Svanehjälm, and put together a small investigative team.

‘Hi, Anja,’ he says.

‘I’d like to have a sauna with you.’

‘A sauna?’

‘Yes, can’t the two of us have a sauna together? You could show me what a proper Finnish sauna is like.’

‘Anja,’ he says slowly. ‘I’ve lived almost my whole life here in Stockholm.’

He goes out into the hallway, then carries on towards the front door.

‘You’re a Swedish Finn, I know,’ Anja goes on. ‘Could there be anything more boring? Why can’t you be from El Salvador? Have you read any of Penelope Fernandez’s articles? You should see her – the other day when she went on the attack against Swedish arms exports on television.’

Joona can hear Anja’s breathing down the phone as he leaves Penelope Fernandez’s flat. He sees the paramedics’ bloody footprints on the stairs and feels his scalp prickle when he thinks of his colleague sitting in the stairwell with his legs wide apart, his face getting paler and paler.

Joona thinks again about the fact that the fixer thought he had killed Penelope Fernandez. That part of his job was done. The second part involved him breaking into her apartment, for some reason. If she’s still alive, finding her has to be a priority, because it won’t be long before the fixer realises his mistake and takes up the chase again.

‘Björn and Penelope don’t live together,’ Anja says.

‘Yes, I’ve worked that out,’ he replies.

‘People can still love each other – just like you and me.’

‘Yes.’

Joona emerges into the strong sunshine. The air is heavy and even more close than it had been earlier.

‘Can you give me Björn’s address?’

Anja’s fingers fly over the key of her computer with tiny clicking sounds.

‘Almskog, Pontonjärgatan 47, second floor …’

‘I’ll head over there before …’

‘Hang on,’ Anja says abruptly. ‘Not possible … Listen to this, I’ve just double-checked the address … There was a fire in the building on Friday.’

‘And Björn’s flat?’

‘That entire floor was destroyed,’ she replies.

19
An undulating landscape of ash

Detective Superintendent Joona Linna goes up the steps, stops, and stands absolutely still as he gazes into a black room. The floor, walls and ceiling are badly burned. The smell is still strongly acrid. There’s practically nothing left of those internal walls that aren’t load-bearing. Black stalactites hang from the ceiling. Charred stumps of posts rise up from an undulating landscape of ash. In places you can see right through between the beams to the rooms below. It’s no longer possible to tell which parts of that floor of the building belonged to Björn’s flat.

Grey plastic has been hung over the empty windows, blocking off the summer’s day and a green building on the other side of the street.

The only reason no one was injured in the fire at Pontonjärgatan 47 was that most people were at work when it broke out.

At five minutes past eleven o’clock the first call was received by the emergency control centre, but even though Kungsholmen fire station is very close to the building, the fire spread so rapidly that four flats were completely destroyed.

Joona thinks about his conversation with fire investigator Hassan Sükür. He used the second-highest level on the National Forensic Laboratory’s scale when he explained that their findings indicated that the fire had started in the home of Björn Almskog’s eighty-year-old neighbour Lisbet Wirén. She had gone down to the corner shop to exchange a small win on a lottery scratchcard for two new cards, and couldn’t remember if she’d left the iron on. The fire had spread rapidly, and all the indications were that it had started in her living room where the remains of an iron and ironing-board were found.

Joona looks round at the charred remains of the apartments on that floor. All that remains of the furniture are a few twisted metal shapes, part of a fridge, a bedstead and a sooty bath.

Joona goes back downstairs. The walls and ceiling of the stairwell have been damaged by smoke. He stops at the police cordon, turns round and looks up towards the blackness again.

As he bends down to pass under the cordon tape he sees that the fire investigators had dropped a few zip-lock bags on the ground – bags used to secure fluids. Joona walks through the green marble hall and out onto the street. He starts to walk towards Police Headquarters as he takes his phone out and calls Hassan Sükür again. Hassan answers at once and lowers the volume of a radio in the background.

‘Have you found any traces of flammable liquids?’ Joona asks. ‘You dropped some zip-lock bags in the stairwell, and I was wondering …’

‘Look, if someone uses any sort of flammable liquid to start a fire, then obviously that burns first …’

‘I know, but …’

‘But I … I usually manage to find evidence anyway,’ he goes on. ‘Because often it runs between cracks in the floorboards, ends up in the insulation or in the cavity between floors.’

‘But not this time?’ Joona asks as he walks down Hantverkargatan.

‘Nothing,’ Hassan says.

‘But if someone knew where traces of flammable liquids often get found, it would be possible to avoid detection.’

‘Of course … I’d never make a mistake like that if I was a pyromaniac,’ Hassan replies brightly.

‘But you’re convinced that the iron was the cause of this particular fire?’

‘Yes, it was an accident.’

‘So you’ve dropped the investigation?’ Joona asks.

20
The house

Penelope feels terror seize hold of her again. It’s as if it had only paused for breath before continuing to scream inside her. She wipes the tears from her cheeks and tries to stand up. Cold sweat runs down between her breasts, and down her sides from her armpits. Her body aches and trembles from the effort. Blood seeps through the dirt on her hands.

‘We can’t stay here,’ she whispers, pulling Björn after her.

It’s dark in the forest, but night is slowly turning to morning. Together they walk quickly down towards the shore again, but far to the south of the house where the party was.

As far away from their pursuer as they can get.

They’re still all too aware that they need help, that they have to get hold of a phone.

The forest opens up gradually towards the water, and they start running again. Between the trees they see another house, perhaps half a kilometre away, maybe less. They can hear a helicopter rumbling somewhere in the distance, moving away.

Björn seems dazed, and whenever she sees him lean on the ground or against a tree she starts to worry that he won’t be able to run any more.

A branch creaks somewhere behind them, as if snapped by someone standing on it.

Penelope starts to run through the forest as fast as she can. She can hear Björn breathing heavily behind her.

The trees begin to thin out and she can see the house again, just a hundred metres away. The lights in the window are reflecting off the red paint of a Ford parked outside.

A hare darts off across the moss and undergrowth.

Panting and wary, they emerge onto the gravel drive.

Their calves are stinging with exertion as they stop and look round. They walk up the front steps, open the door to the porch and go in.

‘Hello? We need help!’ Penelope calls.

The house is warm inside from the sun. Björn is limping, and his bare feet leave bloody prints on the hall floor.

Penelope hurries through the rooms, but the house is empty. The inhabitants probably slept over at their neighbours’ after the party, she thinks, and stands at the window and looks out, hidden behind the curtain. She waits for a while, but can’t detect any movement in the forest or on the lawn or drive. Maybe their pursuer has finally lost track of them, maybe he’s still waiting at the other house. She goes back to the hall, where Björn is sitting on the floor looking at the wounds on his feet.

‘We need to find you a pair of shoes,’ she says.

He looks up at her with a blank expression, as though he doesn’t speak the language.

‘This isn’t over yet,’ she says. ‘You need to put something on your feet.’

Björn starts to hunt through the hall cupboard, pulling out flip-flops, wellington boots and old bags.

Avoiding all the windows, Penelope hunts as quickly as she can for a phone, checking the hall table, the briefcase on the sofa, the bowl on the coffee table, and among the keys and paperwork on the kitchen counter.

There’s a sound outside and she stops to listen.

Perhaps it was nothing.

The first of the morning sun is shining in through the windows.

Crouching, she hurries into the main bedroom and pulls out the drawers in an old chest. She finds a framed family photograph lying among the underwear. A portrait taken in a studio, a husband and wife and two teenage daughters. The other drawers are empty. Penelope opens the wardrobe, pulls the few items of clothing from their metal hangers, and takes a knitted jumper and a hooded jacket that looks like it would suit a fifteen-year-old.

She hears a tap running in the kitchen and hurries in there. Björn is leaning over the sink drinking from the tap. He’s wearing a pair of old trainers on his feet, a couple of sizes too big.

We have to find someone who can help us, she thinks. This is getting ridiculous, there must be people everywhere.

Penelope goes over to Björn and hands him the knitted jumper. Suddenly there’s a knock at the door. Björn smiles in surprise, pulls the sweater on and mutters about them finally having a bit of luck. Penelope walks towards the hall, brushing her hair from her face. She’s almost there when she sees the silhouette through the frosted glass.

She stops abruptly and looks at the shadow through the glass. Suddenly she can’t bring herself to reach out her hand and open the door. She recognises his posture, the shape of his head and shoulders.

The air feels like it’s running out.

Slowly she backs away into the kitchen. Her body is twitching, she wants to run, her whole body wants to run. She stares at the glass window, at the indistinct face, the narrow chin. She feels dizzy as she moves backwards, trampling on bags and boots, reaching out to the wall for support, running her fingers across the wallpaper, knocking the hall mirror askew.

Björn stops beside her, he’s clutching a broad-bladed kitchen knife in his hand. His cheeks are white, his mouth half open, his eyes staring at the window in the door.

Penelope backs into a table as she sees the door-handle slowly being pushed down. Quickly she goes into the bathroom and turns the taps on, then calls out in a loud voice:

‘Come in! The door’s open!’ Björn starts, his pulse is thudding in his head, he’s holding the knife in front of him, ready to defend himself, to attack, as he sees their pursuer slowly let go of the door-handle. The silhouette disappears from the window, and a few seconds later he hears footsteps on the gravel path beside the house. Björn glances to his right. Penelope comes out of the bathroom. He points to the window in the television room and they move away into the kitchen as they hear the man walk across the wooden terrace. Penelope tries to figure out what their pursuer can see, wondering if the angles and light will reveal the shoes scattered across the hall, Björn’s bloody footprints on the floor. The wooden terrace creaks again. He’s making his way round the house, towards the kitchen window. Björn and Penelope huddle up on the floor, pressing against the wall beneath the window. They try to lie still and breathe quietly. They hear him reach the window, his hands slide across the sill and they realise he’s looking into the kitchen.

Penelope notices that the glass door of the oven reflects the window, and in the reflection she sees their pursuer looking around the room. It occurs to her that he’d be looking her right in the eye if he happened to look at the oven door. It won’t be long before he realises that they’re hiding in there.

The face in the window disappears, they hear footsteps across the terrace again, then along the gravel path leading to the front of the house. When the front door opens Björn walks quickly over to the kitchen door, puts the knife down, turns the key that’s sitting in the lock, pushes the door open and rushes out.

Penelope follows him, out into the coolness of the garden. They run across the grass, past the compost heap and into the forest. It’s still fairly dark, but the first light of dawn is pressing between the trees. Penelope’s fear is chasing her, driving her on, churning up the panic in her chest again. She dodges thick branches, jumps over low bushes and rocks. Just behind her she can hear Björn, breathing hard. And behind him she can sense the other man the whole time, the man who feels like a shadow. He’s following them, and she knows he’s going to kill them when he finds them. She remembers something she once read somewhere. There was a woman in Rwanda who survived the Hutus’ genocide of the Tutsis by hiding in the marshes and running every day, running for all the months the genocide lasted. Her former neighbours and friends came after her with machetes. We imitated the antelope, the woman explained in the book. Those of us who survived in the jungle imitated the antelope’s flight from its predators. We ran, we chose unexpected paths, we split up and changed direction to confuse our pursuers.

Penelope knows that the way that she and Björn are running is completely wrong. They have no plan, no ideas, and that’s only going to benefit the man chasing them. There’s no guile to the way they’re running. They want to go home, they want to find help, they want to call the police. And their pursuer knows all this, he understands that they’re going to try to find people who can help them, that they’re going to try to find inhabited areas, heading towards the mainland and home.

Penelope tears a hole in her jogging bottoms on a fallen branch. She staggers a few steps but keeps going, only noting the pain as a burning snare round her leg.

They mustn’t stop. She can taste blood in her mouth. Björn stumbles through a thicket, they change direction at a fallen tree with a pool of water in the hole left by its roots.

As she runs alongside Björn, her fear suddenly brings to mind an unexpected memory, a memory of a time when she was just as frightened as she is now. It was when she was in Darfur. There was something about people’s eyes there, a difference in the eyes of those who had been traumatised, who couldn’t go on, and those who were still fighting, who refused to give up. She will never forget the children who came to Kubbum one night with a loaded revolver. She will never forget the fear she felt then.

21
The Security Police

The main offices of the Security Police are on the third floor of the main block at Police Headquarters, with its entrance on Polhemsgatan. The sound of a whistle can be heard from the exercise yard of the prison, which is situated at the top of the same building. The head of the department for security measures is called Verner Zandén. He is a tall man with a pointed nose, dark, jet-black eyes and a very deep voice. He’s sitting with his legs wide apart on the chair behind his desk, holding up a calming hand. Weak light is coming in through the little window facing the inner courtyard. The room smells of dust and hot light-bulbs. In this unusually drab room stands a young woman named Saga Bauer. She is a superintendent, and has specialised in counter-terrorism. Saga Bauer is only twenty-five years old, and has green, yellow and red ribbons threaded through her long, blonde hair. She looks like a wood-nymph, always in the middle of a beam of light in a forest glade. She is wearing a large-calibre pistol in a shoulder holster beneath an open hooded jacket with the logo of Narva Boxing Club on it.

‘I’ve led the operation for more than a year,’ she pleads. ‘I’ve done the surveillance, I’ve spent whole nights and weekends …’

‘But this is something different,’ her boss interrupts with a smile.

‘Please … You can’t just ignore me again.’

‘Ignore you? A forensics expert from National Crime has been seriously injured, a detective superintendent has been attacked, the apartment could have exploded, and …’

‘I know all that. I’m on my way there now …’

‘I’ve already sent Göran Stone.’

‘Göran Stone? I’ve worked here for three years, and I haven’t been allowed to finish a single case. This is my area of expertise. Göran doesn’t know anything about …’

‘He did well in the tunnels.’

Saga swallows hard before replying:

‘That was my case too, I found the link between …’

Verner says seriously:

‘But it got dangerous, and I still consider that I made the right decision.’

She blushes and looks down, composes herself and then says calmly:

‘I can do this. It’s what I’ve been trained to …’

‘Yes, but I’ve already made my decision.’

He rubs his nose, sighs, then puts his feet up on the waste-paper basket under the desk.

‘You know I’m not here because of some equal opportunities programme,’ Saga says slowly. ‘I’m not part of any quota, I came top of my group in all the tests, I was the best ever at sniper fire, I’ve investigated two hundred and ten different …’

‘I’m just worried about you,’ he says weakly, looking into her clear blue eyes.

‘I’m not a doll, I’m not some princess or fairy.’

‘But you’re so … so …’

Verner turns bright red and then he holds his hands up helplessly.

‘Okay, what the hell, you can be in charge of the preliminary investigation, but Göran Stone is part of the team, so he can keep an eye on you.’

‘Thanks,’ she says with a relieved smile.

‘This isn’t a game, remember that,’ he says in his deep voice. ‘Penelope Fernandez’s sister is dead, executed, and she herself is missing …’

‘And I’ve noticed an increase in activity among a number of extreme left-wing groups,’ Saga says. ‘We’re investigating whether the Revolutionary Front are behind the theft of explosives in Vaxholm.’

‘Obviously the most important thing is to find out if there’s any immediate threat,’ Verner explains.

‘Right now there’s a lot of radicalisation going on,’ she says, a little too keenly. ‘I’ve just been in touch with Dante Larsson at the Military Intelligence and Security Service, and he says they’re expecting acts of sabotage during the summer.’

‘But for the time being we’re concentrating on Penelope Fernandez,’ Verner smiles.

‘Of course,’ Saga says quickly. ‘Of course.’

‘The forensic examination is a collaboration with National Crime, but apart from that they’re to be kept out of it.’

Saga Bauer nods and waits a few moments before asking:

‘Am I going to be allowed to conclude this investigation? It’s very important to me, so that …’

‘As long as you’re still sitting in the saddle,’ he interrupts. ‘But we have no idea where this is going to end. We don’t even know where it starts.’

22
Incomprehensible

On Rekylgatan in Västerås there’s a very long, and very white, housing block. The people who live there have easy access to Lillhags School, the football pitch and tennis courts.

Out of door number 11 comes a young man carrying a motorcycle helmet in one hand. His name is Stefan Bergkvist, and he’s almost seventeen years old, he attends the technical college and lives with his mum and her partner.

He has long fair hair and a silver ring in his bottom lip, and he’s wearing a black T-shirt and baggy jeans whose cuffs have been trodden to pieces.

Without any hurry he walks down to the car park, hangs the helmet on the handlebars of his motocross bike and rides slowly down onto the path around the building, carries on beside the double railway track, under the Norrleden viaduct, into the big industrial estate and stops beside a wooden shack covered with blue and silver graffiti.

Stefan and his friends usually meet here to race on the motocross circuit they’ve made along the railway embankment, riding up and down the various tracks before returning to Terminalvägen.

They started coming here four years ago when they found the keys to the shack hidden on a nail at the back among the thistles. The building had stood untouched for almost ten years. For some reason it had been left behind after a large building project.

Stefan gets off his bike, unlocks the padlock, lowers the steel bar and opens the wooden door. He goes inside the shack, looks at the time on his phone, and sees that his mum’s called.

He doesn’t notice that he’s being watched by a man of about sixty wearing a grey suede jacket and light-brown shoes. The man is standing behind a skip by the low industrial building on the other side of the railway line.

Stefan goes over to the little kitchen corner, picks up the packet of crisps from the sink, tips the last few crumbs into his hand and eats them.

The light inside the shack comes from two dirty windows with bars across them.

Stefan waits for his friends, leafing through one of the old magazines that were left on top of the map cabinet, a copy of a soft porn magazine with the words ‘Imagine being licked and getting paid for it!’ on the front beside a young woman with bare breasts.

The man in the suede jacket calmly leaves his hiding place, passes the gantry holding the overhead power lines and crosses the brown embankment with its double tracks. He goes over to Stefan’s motorcycle, folds the support away and wheels it over to the door of the shack.

The man looks round, then leans the motorbike on the ground and pushes it with his foot so that it’s wedged tightly against the door. He opens the fuel tank and lets the petrol run out beneath the shack.

Stefan goes on looking through the old magazine, looking at faded photographs of women taken in a prison setting. One blonde woman is sitting in a cell with her legs wide apart, showing her genitals to a prison guard. Stefan stares at the picture, then jumps when he thinks he hears a rustling sound from outside. He listens, thinks he can hear footsteps and quickly closes the magazine.

The man in the suede jacket has pulled out the red petrol can the boys had hidden among the bushes behind the shack, and is emptying it around the shack. Only when he reaches the back wall does he hear the first shouts from inside. The boy is banging on the door, trying to push it open. His footsteps thud across the floor, and his worried face appears at one of the dirty windows.

‘Open the door, this isn’t funny,’ he shouts loudly.

The man in the suede jacket carries on around the shack, empties the last of the petrol, then puts the can down.

‘What are you doing?’ the boy cries.

He throws himself at the door, trying to kick it open, but it won’t budge. He calls his mum, but her phone is switched off. His heart is beating hard as he tries to look through the grey-streaked windows, moving from one to the other.

‘Are you mad?’

When he suddenly notices the acrid smell of petrol, fear rises up inside him and his stomach clenches.

‘Hello?’ he shouts in a frightened voice. ‘I know you’re still there!’

The man pulls a box of matches from his pocket.

‘What do you want? Please, just tell me what you want …’

‘It isn’t your fault, but a nightmare needs to be reaped,’ the man says without raising his voice, and lights a match.

‘Let me out!’ the boy screams.

The man drops the match in the wet grass. There’s a sucking sound, like a big sail suddenly filling with air. Pale blue flames fly up with such ferocity that the man is forced to take several steps back. The boy cries for help. The flames spread to surround the shack. The man keeps backing away as he feels the heat on his face and hears the terrified screams.

The shack is ablaze in a matter of seconds, and the glass shatters behind the bars in the heat.

The boy shrieks when the flames set light to his hair.

The man walks across the railway lines, stands beside the industrial building and watches as the old shack burns like a torch.

A few minutes later a goods train approaches from the north. It comes rolling slowly down the track, and with a scraping, rattling sound the row of brown wagons passes the dancing flames as the man in the suede jacket vanishes along Stenbygatan.

23
Forensics

Even though it’s the weekend the head of the National Crime Unit, Carlos Eliasson, is in his office. His gradually increasing introversion means that he’s becoming more and more averse to spontaneous visits. The door is closed and he’s got the ‘engaged’ light on. Joona knocks and opens the door in the same gesture.

‘I need to know if the marine police find anything,’ he says.

Carlos puts his book down on the desk and replies calmly:

‘You and Erixon were attacked. That’s a traumatic experience and you need to look after yourselves.’

‘We will,’ Joona says.

‘The helicopter search has been concluded.’

Joona stiffens.

‘Concluded? How large an area did …’

‘I don’t know,’ Carlos interrupts.

‘Who’s in charge of the operation?’

‘It’s nothing to do with National Crime,’ Carlos explains. ‘The marine police are …’

‘But it would be very useful to us to know if we’re investigating one or three murders,’ Joona says sharply.

‘Joona, right now you’re not investigating anything. I’ve discussed the matter with Jens Svanehjälm. We’re putting together a joint team with the Security Police. Petter Näslund will represent National Crime, Tommy Kofoed the National Homicide Commission, and …’

‘What’s my role?’

‘Take a week off.’

‘No.’

‘Then you can go out to Police Academy and give some lectures.’

‘No.’

‘Don’t be stubborn,’ Carlos says. ‘That obstinacy of yours isn’t as charming as …’

‘I don’t give a damn what you think,’ Joona says. ‘Penelope …’

‘You don’t give a damn about me,’ Carlos says in astonishment. ‘I’m head of …’

‘Penelope Fernandez and Björn Almskog could still be alive,’ Joona goes on in a hard voice. ‘His flat has been burned out and hers would have been if I hadn’t got there in time. I think the murderer is looking for something that they’ve got, I think he tried to get Viola to talk before he drowned her …’

‘Thank you very much,’ Carlos interrupts, raising his voice. ‘Thank you for your interesting ideas, but we’ve … No, let me finish. I know you have trouble accepting this, Joona, but you’re not the only police officer in the country. And most of the others are actually very good, you know.’

‘Agreed,’ Joona says slowly, with a degree of sharpness in his voice. ‘And you ought to take care of them, Carlos.’

Joona looks at the brown stains on his cuffs made by Erixon’s blood.

‘What do you mean?’

‘I’ve encountered the perpetrator, and I think we need to be prepared for police fatalities in this case.’

‘You were taken by surprise, I understand it was unpleasant …’

‘Okay,’ Joona says harshly.

‘Tommy Kofoed is in charge of the crime scene investigation, and I’ll call Britta at Police Academy and tell her you’ll be calling in today, and will be a guest-lecturer next week,’ Carlos says.

The heat hits Joona when he emerges from Police Headquarters. As he takes his jacket off he realises that someone is approaching him from behind, stepping out between the parked cars in the street from the shadows of the park. He turns round and sees that it’s Penelope’s mother, Claudia Fernandez.

‘Joona Linna,’ she says in a tense voice.

‘Claudia, how are you?’ he asks seriously.

She just shakes her head. Her eyes are bloodshot and her face looks anguished.

‘Find her, you have to find my little girl,’ she says, and hands him a thick envelope.

Joona opens the envelope and sees that it’s full of banknotes. He tries to give it back, but she won’t take it.

‘Please, take the money. It’s all I’ve got,’ she says. ‘But I can get more, I’ll sell the house, as long as you find her.’

‘Claudia, I can’t take your money,’ he says.

Her tormented face crumples:

‘Please …’

‘We’re already doing everything we can.’

Joona gives the envelope back to Claudia, and she holds it stiffly in her hand, then mumbles that she’ll go home and wait by the phone. Then she stops him and tries to explain again:

‘I told her not to come to mine … she’s never going to call me.’

‘You had an argument, Claudia, but that’s not the end of the world.’

‘But how could I say that? Can you imagine?’ she asks, and raps her knuckles against her forehead. ‘Who says a thing like that to their own child?’

‘It’s so easy to just …’

Joona’s voice tails off, he feels his back sweating and forces himself to suppress the fragments of memory that are starting to stir.

‘I can’t bear it,’ Claudia says quietly.

Joona takes hold of Claudia’s hands, and tells her he’s doing all he can.

‘You have to get my daughter back,’ she whispers.

He nods, and they go their separate ways. Joona hurries down Bergsgatan, and peers up at the sky as he walks to his car. It’s sunny but a little hazy, and still very close. Last summer he was sitting in the hospital holding his mother’s hand. As usual, they spoke Finnish to each other. He told her they’d go to Karelia together as soon as she felt better. She was born there, in a little village which, unlike so many others, wasn’t burned down by the Russians during the Second World War. His mum had said it would be better if he went to Karelia with one of the people who were waiting for him.

Joona buys a bottle of Pellegrino from Il Caffè and drinks it before getting in the warm car. The steering wheel is hot and the seat burns his back. Instead of driving to Police Academy, he drives back to Sankt Paulsgatan 3, the flat of the missing Penelope Fernandez. He thinks about the man he encountered in the flat. There had been a remarkable speed and precision to his movements, as if the knife itself had been alive.

Blue and white tape has been strung up across the door, with the words ‘Police’ and ‘No entry’ on it.

Joona shows his ID to the uniformed officer on guard, and shakes his hand. They’ve met before, but never worked together.

‘Hot today,’ Joona says.

‘Just a bit,’ the police officer says.

‘How many forensics people have we got here?’ he asks, nodding towards the stairwell.

‘One of ours and three from the Security Police,’ the officer says brightly. ‘They want to get hold of DNA as quickly as possible.’

‘They won’t find any,’ Joona says, almost to himself as he starts to walk towards the stairs.

An older police officer, Melker Janos, is standing outside the door to the flat on the third floor. Joona remembers him from his training as a stressed and unpleasant senior officer. Back then Melker’s career was on the up, but an acrimonious divorce and sporadic alcohol abuse gradually saw him demoted to a beat officer again. When he sees Joona he greets him curtly and irritably, then opens the door for him with a sarcastic servile gesture.

‘Thanks,’ Joona says, without expecting any response.

Inside the door he finds Tommy Kofoed, the forensics coordinator from the National Homicide Commission. Kofoed is scuttling about sullenly. He reaches no higher than Joona’s chest. When their eyes meet he opens his mouth in an almost childishly happy grin.

‘Joona, great to see you. I thought you were going off to Police Academy.’

‘I got the directions wrong.’

‘Good.’

‘Have you found anything?’ Joona asks.

‘We’re secured all the shoeprints from the hall,’ he says.

‘Yes, they probably match my shoes,’ Joona says as he shakes Kofoed’s hand.

‘And the attacker’s,’ Kofoed says with an even broader smile. ‘We’ve got four prints. He moved in a bloody weird way, didn’t he?’

‘Yes,’ Joona replies curtly.

There are protective mats laid out in the hall so that any evidence isn’t contaminated before it’s been secured. There’s a camera on a stand with its lens pointing at the floor. A sturdy lamp with an aluminium shade is lying in the corner with its cord wrapped round it. The forensics team have looked for invisible shoeprints by shining light almost parallel to the floor. Then they’ve secured the prints electrostatically and identified the perpetrator’s steps through the hall from the kitchen.

Joona can’t help thinking that their precision is a waste of effort, seeing as the attacker’s shoes, gloves and clothes have almost certainly already been destroyed and burned.

‘How exactly did he run through here?’ Kofoed asks, pointing at the marks. ‘There, there … and then across to there, then there’s nothing until here and here.’

‘You’ve missed one,’ Joona smiles.

‘Like hell we have.’

‘There,’ Joona points.

‘Where?’

‘On the wall.’

‘Bloody hell.’

Some seventy centimetres above the floor there’s a faint shoeprint on the pale grey wallpaper. Tommy Kofoed calls one of his colleagues and asks him to take a gelatine print.

‘Is it okay to walk on the floor now?’ Joona asks.

‘As long as you don’t walk on the walls,’ Kofoed grunts.

Конец ознакомительного фрагмента.

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.